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2016 film

Elle
Elle poster.jpg

Theatrical release poster
Directed by Paul Verhoeven
Screenplay past David Birke
Based on Oh...
past Philippe Djian
Produced by
  • Saïd Ben Saïd
  • Michel Merkt
Starring
  • Isabelle Huppert
  • Laurent Lafitte
  • Anne Consigny
  • Charles Berling
  • Virginie Efira
  • Judith Magre
  • Christian Berkel
  • Jonas Bloquet
  • Alice Isaaz
  • Vimala Pons
  • Arthur Mazet
  • Raphaël Lenglet
  • Lucas Prisor
Cinematography Stéphane Fontaine
Edited by Task ter Burg
Music by Anne Dudley

Product
companies
  • SBS Productions
  • Pallas Movie
  • France ii Cinéma
  • Entre Chien et Loup
  • Culvert+
  • French republic Télévisions
  • Orangish Cinéma Séries
  • Casa Kafka Pictures
  • Proximus
  • Eye National de la Cinématographie
  • Filmförderungsanstalt
Distributed by SBS Distribution
Sony Pictures Classics (United states)

Release dates
  • 21 May 2016 (2016-05-21) (Cannes)
  • 25 May 2016 (2016-05-25) (France)
  • sixteen February 2017 (2017-02-16) (Germany)

Running fourth dimension

 130 minutes
Countries
  • French republic
  • Germany[1]
Linguistic communication French
Budget $nine.1 million[2]
Box office $12.7 1000000[iii]

Elle (French for 'she' or 'her') is a 2016 thriller pic directed by Paul Verhoeven and written past David Birke, based on the novel Oh... by Philippe Djian. Djian's novel was released in 2012 and received the Prix Interallié (National Literary Award).[iv] The film stars Isabelle Huppert as a businesswoman who is raped in her home by a masked aggressor and decides non to study it due to her past feel with law.

The motion-picture show is Verhoeven's first feature since 2006'southward Black Book, and his kickoff in the French linguistic communication. It premiered in competition for the Palme d'Or at the 2016 Cannes Movie Festival where it received disquisitional acclamation.[v] Elle won the Gilded Globe Award for Best Foreign Language Film and Critics' Pick Movie Award for Best Strange Language Moving-picture show; information technology was as well selected equally the French entry for the Academy Award for Best Foreign Language Film, only was not nominated.[6] At the 42nd César Awards in France, the film received eleven nominations, and won Best Film.

Huppert's performance was widely acclaimed, considered to be one of the finest of her career. She was nominated for the Academy Award for All-time Extra, and won several All-time Extra awards, including the Gilded Globe Award, César Award, National Society of Film Critics Award, New York Picture Critics Circumvolve Honour, Los Angeles Film Critics Clan Award, Gotham Independent Film Honour, and the Independent Spirit Honor.

Plot [edit]

Michèle Leblanc is raped in her home past an assaulter in a ski mask. She and so cleans up the mess and resumes her life. She is the head of a successful video game visitor, where her male person employees are alternately resentful of or infatuated with her. She carries on an matter with Robert, the husband of her friend and concern partner Anna, and flirts with her married neighbor Patrick. Michèle feels detached from her son Vincent, who submits to his abusive, pregnant girlfriend Josie. She has a contentious relationship with her mother, Irène, whom she resents for her narcissism and involvements with younger men. Furthermore, she is the girl of an infamous mass murderer whose parole hearing is approaching. Haunted by her father's deportment, Michèle is wary of constabulary enforcement and does non report her rape to police.

Michèle grows increasingly suspicious of the men in her life. She receives harassing text messages from her attacker at a blocked number, indicating he is stalking her. She at first suspects Kurt, a especially resentful employee, when a CGI animation of a monster raping her is emailed to everyone at the company. She pepper-sprays a human being lurking exterior her house, but to find out information technology is her ex-husband Richard, who was checking on her safety. She afterward discovers that another employee, who has been infatuated with her, created the animation simply did not rape her.

On Christmas Eve, Irène suffers a stroke and begs her daughter to go see her begetter before she dies in hospital. Michèle is later attacked in her domicile by the assailant and, afterwards stabbing his hand and unmasking him, learns that he is Patrick. Though she at present knows his identity and realizes that he is able to enter her dwelling despite having her locks changed, she still does non phone call the police force and takes no measures to increase her home security.

Michèle decides to visit her father after his parole awarding is rejected, but to find that he has hanged himself hours before she arrives. On the way habitation from the prison, she gets into a auto crash in a secluded area. Rather than calling an ambulance, she first tries to telephone call her friends, and then decides to call Patrick. After he rescues her from the automobile and bandages her, Michèle courts a brazenly dangerous sexual relationship with him. She engages in a bright rape scenario with him. The two of them walk a frail line in which Patrick has to feel as though he is raping Michèle, even though she consents to the roleplay.

Michèle grows increasingly disillusioned with her life leading up to the launch party for her visitor's new video game. She confesses to Anna that she was having an thing with Robert. Equally Patrick drives her dwelling, Michèle professes that she is no longer in deprival near their unhealthy relationship and claims she intends to telephone call the police force. She takes her fourth dimension walking in front of his parked car after getting out, and then makes a indicate of leaving her gate unlocked. Patrick enters and attacks her in an ambiguous encounter that blurs the line between rape and consent, merely Vincent, who was already in the firm, sneaks upwardly behind Patrick and bashes him in the back of the skull. Michèle appears to remain largely composed, but Patrick is seemingly confused as he dies.

Michèle speaks briefly with Patrick'southward married woman Rebecca as she is moving out of the neighbourhood. Rebecca is placid and expresses gratitude to Michèle for being able to temporarily "satisfy Patrick's needs"—implying that she was aware on some level that the two were sexually involved and that Patrick had inclinations she couldn't satisfy. Vincent is now more assertive in his relationship and career, while Michèle reconciles with both Josie and Anna; the latter offers to move in with her at present that they have both severed their relationships with Robert.

Bandage [edit]

  • Isabelle Huppert as Michèle Leblanc
  • Laurent Lafitte as Patrick, Michèle's neighbor
  • Anne Consigny as Anna
  • Christian Berkel as Robert
  • Virginie Efira every bit Rebecca, Patrick'southward married woman
  • Charles Berling as Richard Casamayou
  • Alice Isaaz as Josie
  • Judith Magre as Irène Leblanc, Michèle's mother
  • Vimala Pons as Hélène
  • Jonas Bloquet as Vincent, Michèle'south son
  • Lucas Prisor every bit Kurt, Michèle's employee
  • Arthur Mazet equally Kevin, Michèle's employee
  • Raphaël Lenglet as Ralph

Production [edit]

Development [edit]

Paul Verhoeven stated that he felt the movie was an opportunity for him to exercise "something very different to anything I've done before. But this stepping into the unknown, I recollect it'southward very of import in the life of an artist. It puts you in an existential fashion. As an artist yous accept to, as much as possible, footstep into the unknown and run into what happens to you lot."[7] The project was unveiled at the Marché du Pic during the 2014 Cannes Motion-picture show Festival where information technology was described equally "pure Verhoeven, extremely erotic and perverted."[8] Verhoeven was looking for an extra who would exist "prepared to take that on" and believed Nicole Kidman "could handle this role."[ix] He likewise considered Charlize Theron, Julianne Moore, Sharon Stone, Marion Cotillard, Diane Lane, and Carice van Houten for the role of Michèle, a businesswoman who is raped in her dwelling house by an unknown assailant and refuses to allow it change her precisely ordered life.[9] [ten] [xi] [12] Verhoeven told The Guardian that he reckons that the just American actress who would accept been willing is Jennifer Jason Leigh. "She would have had absolutely no problem, she'southward extremely audacious. Only she'due south an artistic presence and we were looking for names", he said.[xiii] Verhoeven's inability to convince a major American actress to play the part left him frustrated, as he later explained, "I concord that there are not many female parts – certainly not in American picture palace. Information technology's weird that when there is i, they lacked the audacity to be controversial. I hope all these actresses see the movie."[13]

The motion-picture show was originally supposed to have place in Boston or Chicago just, according to Verhoeven, it proved to exist "too hard" to shoot the flick in the The states due to its violent and immoral content as "that would take meant getting more than into the direction of Bones Instinct, but a lot of the things that are of import in the movie would probably have been diminished. By bringing it more than into a thriller direction, I recall it would have lost everything. It would probably have been banal and transparent. The mystery would take gone."[xiv] [15] Verhoeven then decided to do information technology in French and used a pregnant time earlier production to acquire the language, in order to effectively communicate with the predominantly French bandage and crew. In September 2014, French extra Isabelle Huppert signed on to star in the film equally Michèle.[17] Huppert had expressed interest in a screen adaptation of the book before Verhoeven, whom she described equally "1 of the best directors in the world for me,"[eighteen] joined the production and accepted the part immediately, "I had no doubt nearly the integrity to the role. Of course if you only circle the story to the rape and a woman existence attracted by the homo who raped her, I mean, that really makes the whole purpose very, very narrow and limited. I recollect it's a lot more than this. And she's really an interesting character considering she ever goes confronting predictable definitions of what information technology means to be a woman, what information technology means to be a man. Patently, the movie'south most a woman. But it's as well well-nigh men, you know, and the men are sort of fading figures, very weak, quite fragile. So it's really besides about the empowerment of a adult female."[19]

Filming [edit]

Main photography began on 10 January 2015 for a x-week shoot.[20] Filming took place in and around Paris. A planned sequence in Paris' main law station was cancelled following the Charlie Hebdo shooting on vii January.[21] The picture was also shot in a house for Huppert'south graphic symbol in Saint-Germain-en-Laye for 5 weeks.[22] Verhoeven'south mise-en-scène for the film was influenced by 3 films: Federico Fellini's viii½, Jean Renoir's The Rules of the Game and Orson Welles' Touch of Evil. Every scene was choreographed, and Verhoeven storyboarded the whole film himself. He chose to shoot the film with two Red Dragon cameras,[23] as "These days the amount of fourth dimension a director is given to make a film has diminished by forty to 50 percent. Working with two cameras solves part of that problem while giving you the opportunity to do things that you wouldn't exercise before."

When the film wrapped, Verhoeven described the shoot as "difficult"[24] just afterwards admitted that "in retrospect, it was very pleasant and easy."[25] He dismissed rumors that Elle was an "erotic thriller" in the tradition of some his previous films, including Basic Instinct, "Those people who call back that this is an erotic film will be disillusioned. They are in for a foreign confrontation with a moving picture that is... non ordinary. I don't think the story is erotic; it'due south about rape. An erotic thriller would be a fleck weird, correct? I mean, it might be erotic for the person doing it, simply I don't call up that rape in general is something you lot would call erotic." On thirteen May 2015, he told Variety he had "a stiff feeling with this 1 that I was doing something that I'd never done before, which applied when I made RoboCop."[26] He also praised Huppert'southward functioning, saying that "She is an extremely gifted extra that gives you more than what'southward on paper… even what's in the book. She does experiments in her mind to become to places that she would probably avert in reality. And she does that in an admittedly unique way."[26] He likewise said in an interview with Film Comment:

She'southward one of the most vivid actors I've ever met in my life. She'southward so extremely special and is able to avert whatever cliché in any state of affairs, always finding a different way of doing things. She comes up with all kinds of extra details that you wouldn't even dream of, that I would never come up with on my own. She's not only a great actress but she is also especially imaginative and artistic in her approach to the character. I didn't have to tell her anything well-nigh Michèle because information technology was clear from the first shot that she knew exactly what her character would practise and how she would carry in whatever circumstance. She is extremely audacious and she really had no problem with anything that was in the script, and so I have an enormous respect for her.

Music [edit]

The score of Elle was equanimous past English composer Anne Dudley and was released on 23 September 2016.[27]

Release [edit]

The first poster for the film was released in May 2015, during the Cannes Film Festival where SBS Productions sold the film internationally.[26] On 16 Jan 2016, the first trailer and the final poster were released.[28] On 11 March 2016, French film magazine Le Film français announced that SBS Distribution moved up the release date from 21 September to 25 May 2016.[29] On 14 April 2016, information technology was announced that the film had been selected to compete for the Palme d'Or in the main competition section at the Cannes Film Festival.[30] On 27 April 2016, several images of the film were released.[31]

On 11 May 2016, it was appear Sony Pictures Classics had acquired distribution rights to release the moving picture in North America, Latin America, Commonwealth of australia, New Zealand, Scandinavia, Eastern Europe (excluding Russian federation) and Asia (excluding China and Nippon). Sony, who had previously acquired Verhoeven's Blackness Volume, said in a argument, "This thriller is Paul Verhoeven at his very best and Isabelle Huppert gives the performance of a lifetime. Elle promises to be a hitting with audiences this fall." Verhoeven added, "Sony has always been my home in the US, and I'g excited that Sony Classics volition take care of Elle with the wonderful actress Isabelle Huppert. I'thousand pleased that fifty-fifty my European films have ended up with them."[32] Following the film'southward Cannes premiere, Sony announced its theatrical release in the United States on 11 November 2016.[33]

On 12 August 2016, it was announced Picturehouse had acquired distribution rights to release the picture in the United Kingdom and Ireland. Clare Binns, director of programming and acquisition at Picturehouse, praised Verhoeven, whom she described as "a master filmmaker who has always made provocative and heady piece of work without compromise - Elle is no exception" and also said, "This gripping, multilayered thriller bowled me over in Cannes and I know it's going to be a big talking point. This is what proper cinema for adults is all about."[34] The film was released in the Great britain on x March 2017, which made it non eligible for the 70th British Academy Moving picture Awards.[35]

The film likewise screened at the Toronto International Film Festival on 8 September 2016, the San Sebastián International Picture show Festival on eighteen September, the BFI London Film Festival on 8 October, the New York Motion picture Festival on xiv October, and the AFI Fest on 13 November, where Isabelle Huppert was honored with a special tribute to her career.[36]

The film will be screened at the 72nd Berlin International Film Festival in Feb 2022, where it is ane of the homage films to accolade Huppert with Honorary Golden Bear for Lifetime Accomplishment.[37]

Reception [edit]

Critical response [edit]

Elle received widespread disquisitional acclaim, with particular praise for Huppert's performance and Verhoeven'southward management.[5] On review aggregator Rotten Tomatoes, the film holds an approval rating of 91% based on 237 reviews, with an average rating of eight.00/10. 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 fundamental part."[38] At Metacritic, which assigns a normalized rating to reviews, the film received an average score of 89 out of 100, based on 36 critics, indicating "universal acclaim".[39]

The film received a seven-minute standing ovation at its Cannes Movie Festival international premiere.[40] Leslie Felperin of The Hollywood Reporter chosen information technology "the most empowering 'Rape Flick' ever made," and wrote, "Paul Verhoeven'southward film about a woman's complicated response to beingness raped will draw ire from feminists and others, just it's one of the bravest, well-nigh honest and inspiring examinations of the subject ever put onscreen."[41] Stéphane Delorme of Cahiers du cinéma wrote the moving picture was "a striking return for the Dutchman. We didn't dare dream of such an adventurous, generous film."[42] Guy Lodge of Multifariousness said, "Isabelle Huppert might be our all-time living actor, and Elle might exist Paul Verhoeven'southward all-time film."[43] [44] Eric Kohn of Indiewire described it as a "lighthearted rape-revenge story."[45] Hashemite kingdom of jordan Mintzer of The Hollywood Reporter called the film a "tastefully twisted mid-to-late-life crisis thriller that's both lasciviously dark and rebelliously low-cal on its feet" and added that Verhoeven and Huppert "combine their talents to make a moving picture that inappreciably skimps on the sex activity, violence and sadism, nonetheless ultimately tells a story virtually how ane adult female uses them all to set herself gratuitous."[46] Jason Gorber of Twitch Film idea the motion-picture show was "a masterwork by a principal filmmaker, while Huppert's functioning reminds the globe once over again what a treasure she is."[47] Ben Croll of TheWrap believed the film was "riotously funny, and Isabelle Huppert has never been amend."[48]

Christopher Hooton of The Independent said information technology was "Cannes' only real high indicate."[49] Xan Brooks of The Guardian found the film "utterly gripping and incessantly disturbing" and wrote, "Isabelle Huppert delivers a standout performance equally a woman turning the tables on her attacker in the controversial director's electrifying and provocative comeback."[l] Lisa Nesselson of Screen International found that Huppert'southward "self-assured-and-aloof register is a perfect fit with Verhoeven'due south taste for far-fetched human behaviour presented as plausible," and described the flick equally "suspenseful and unsettling from first frame to last."[51] David Sexton of The Evening Standard labeled the film as "outrageous, funny and shocking, exhilarating and original."[52] Catherine Bray of Time Out wrote the film "might just be the near Paul Verhoeven motion-picture show yet, due to its willingness to push buttons, explore transgressive territory and accept abiding delight in venturing where the vast majority of filmmakers would fear to tread" and predicted, "It's a film that will inspire debate for decades to come."[53] Richard Brody of The New Yorker wrote, "Elle is no exploration of a woman's life or psyche merely a manlike fantasy adorned with the trappings of liberation."[54] Bidisha, writing in The Guardian, rounded on the moving-picture show's racist humour and for perpetuating misogynistic stereotypes nearly domestic abuse and rape fantasies: "In a fell insult to all survivors of men'southward sexual violence, the filmmakers have recast the perpetrator and his victim as being in some kind of human relationship or affair driven by her masochism, in which his abusiveness is simply a necessary fuel... It'southward a archetype, malicious lie: that rape awakens women'southward sexuality."[55]

Top ten lists [edit]

Elle was listed on numerous critics' top ten lists.[56]

  • 1st – Ignatiy Vishnevetsky, The A.V. Club
  • 1st – Brian Formo, Collider
  • 1st – Sean Axmaker, Parallax View
  • 1st – Michael Snydel, RogerEbert.com
  • 1st – Lisa Nesselson, Screen International
  • 2d – Cahiers du cinéma
  • 2d – The Motion picture Phase
  • 2nd – Nicholas Bong, Ioncinema.com
  • 2d – Dennis Dermody, Newspaper
  • second – Screen Anarchy
  • 2nd – Lee Marshall, Screen International
  • 2nd – Simon Abrams, RogerEbert.com
  • second – Danny Bowes, RogerEbert.com
  • 2nd – Seongyong Cho, RogerEbert.com
  • 2d – Peter Sobczynski, RogerEbert.com
  • 3rd – Aubrey Page, Collider.com
  • 3rd – The Guardian
  • 3rd – Sheila O'Malley, RogerEbert.com
  • 3rd – Fionnuala Halligan, Screen International
  • 3rd – Calvin Wilson, St. Louis Post-Dispatch
  • 4th – Marjorie Baumgarten, The Austin Chronicle
  • 4th – Matt Prigge, Metro US
  • quaternary – Andrew Wright, Salt Lake City Weekly
  • fourth – Stephanie Zacharek, Fourth dimension
  • 4th – Screen International
  • 5th – Mick LaSalle, San Francisco Relate
  • 5th – Gregory Ellwood, The Playlist
  • 5th – Ben Kenigsberg, RogerEbert.com
  • fifth – Camber Magazine
  • sixth – Peter Debruge, Variety
  • 6th – Todd McCarthy, The Hollywood Reporter
  • 6th – John Waters, Artforum
  • 6th – Alison Willmore, BuzzFeed
  • sixth – Nick Schager, Esquire
  • 6th – David Hudson, Fandor
  • 6th – Movie Mezzanine
  • 6th – Tina Hassannia, RogerEbert.com
  • seventh – Marker Olsen, Los Angeles Times
  • seventh – Steven Erickson, RogerEbert.com
  • 8th – Katie Rife, The A.V. Gild
  • 8th – Stephen Holden, The New York Times
  • 8th – Patrick McGavin, RogerEbert.com
  • 8th – Erin Whitney, ScreenCrush
  • 9th – Melissa Anderson, Artforum
  • 9th – Upshot of Sound
  • ninth – Ben Barna, Nylon
  • 10th – A. O. Scott, The New York Times (tied with Things to Come)
  • tenth – Bill Stamets, RogerEbert.com
  • Top 10 (listed alphabetically, non ranked) – Walter Addiego, San Francisco Chronicle

Accolades [edit]

On 26 September 2016, the National Center of Cinematography and the moving image selected Elle every bit the French entry for the All-time Foreign Language Pic at the 89th Academy Awards.[57] When the University of Motility Pic Arts and Sciences announced a shortlist of nine pictures competing for the category on 15 Dec 2016 that did non include Elle; many media, including The Hollywood Reporter,[58] The New York Times,[59] Entertainment Weekly,[60] The Independent [61] and The Guardian,[62] slammed Elle's omission as a "snub." Gregory Ellwood of The Playlist wrote that the film became "ane of greatest Oscar Foreign Language Film Snubs of all-time."[63]

Notes [edit]

  1. ^ Tied with Annette Bening for 20th Century Women
  2. ^ Tied with Natalie Portman for Jackie
  3. ^ Tied with Yorgos Lanthimos for The Killing of a Sacred Deer
  4. ^ Tied with Things to Come up
  5. ^ Tied with Ruth Negga for Loving

Meet also [edit]

  • List of submissions to the 89th Academy Awards for Best Strange Language Film
  • Listing of French submissions for the Academy Award for All-time Strange Linguistic communication Moving-picture show

References [edit]

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  2. ^ Lermercier, Fabien (15 Apr 2015). "Paul Verhoeven, a Frenchman by adoption". Cineuropa . Retrieved ane September 2016.
  3. ^ "Elle". Box Function Mojo . Retrieved 10 June 2017.
  4. ^ Astrid De Larminat (14 Nov 2012). "Philippe Djian, prix Interallié". Le Figaro (in French). Retrieved ii March 2017.
  5. ^ a b Cannes reception:
    • Club, Guy (21 May 2016). "Cannes Flick Review: 'Elle'". Diverseness . Retrieved 25 May 2016.
    • Mintzer, Jordan (21 May 2016). "'Elle': Cannes Review". The Hollywood Reporter . Retrieved 25 May 2016.
    • Brooks, Xan (21 May 2016). "Elle review: Paul Verhoeven's brazen rape revenge comedy is a unsafe delight". The Guardian . Retrieved 25 May 2016.
    • Nesselson, Lisa (21 May 2016). "'Elle': Cannes Review". Screen International . Retrieved 25 May 2016.
    • Nordine, Michael (22 May 2016). "'Elle' Review Roundup: Paul Verhoeven's Controversial Return Draws Universal Acclamation For Isabelle Huppert". Indiewire . Retrieved 25 May 2016.
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    • Chèze, Thierry (21 May 2016). ""Elle": Paul Verhoeven et les limites morales de nos sociétés". L'Limited (in French). Retrieved 25 May 2016.
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  36. ^ Scott Roxborough (16 December 2021). "Isabelle Huppert to Get Lifetime Aureate Bear Accolade at Berlin Movie Fest". Hollywood Reporter . Retrieved sixteen Dec 2021.
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External links [edit]

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Source: https://en.wikipedia.org/wiki/Elle_(film)

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