In Arnaud Desplechin’s beguiling A Christmas Tale (Un conte de Noël), Catherine Deneuve brings her legendary poise to the role of Junon, matriarch of the troubled Vuillard family, who come together at Christmas after she learns she needs a bone marrow transplant from a blood relative. That simple family reunion setup, however, can’t begin to describe the unpredictable, emotionally volatile experience of this film, an inventive, magical drama that’s equal parts merriment and melancholy. Unrequited childhood loves and blinding grudges, brutal outbursts and sudden slapstick, music, movies, and poetry, A Christmas Tale ties it all together in a marvelously messy package. —The Criterion Collection
Arnaud Desplechin is the son of Robert and Mado Desplechin, and grew up in the Nord department. He has a brother named Fabrice who has acted in several of his films, and two sisters: novelist Marie Desplechin and screenwriter Raphaëlle Desplechin.
Arnaud Desplechin studied film directing at the University of Paris III: Sorbonne Nouvelle, graduating in 1984. He made three short films inpsired by the work of the Belgian novelist Jean Ray, and became a great admirer of the films of Alain Resnais. During the late 1980s, Desplechin worked as a director of photography on several films.
In 1990, Desplechin directed La Vie des morts, starring several actors who would go on to appear in multiple Desplechin films, such as Marianne Dénicourt, Emmanuelle Devos, Emmanuel Salinger and Thibault de Montalembert. The 54-minute-long film won the Jean Vigo Prize for Short Films, and was shown at the Cannes Film Festival.
Desplechin’s first feature-length movie, La Sentinelle, premiered… read more
Proving denser than the diptych of Rois et reine. Sharpened cuts, angles, movements; the emotional lite effortlessly balanced against the heavy, captured through Desplechin’s modern, almost punk framing, its immediacy, intimacy and postmodern dashes. Whirlwind family history, its ailments and quirks, with the collective mental, physical and emotional pitfalls that form not so much Desplechin’s Festen as his Fanny and Alexander. For its fleet framework and stellar ensemble, a compellingly rich, diverse construct.
Every single time I see this, I always find something different, something new, something I haven't noticed before. That's the beauty of this film. And I love how it never descends into maudlin territory. It is a perfect and equal mix of happiness and tragedy. Never overly sentimental and melodramatic but always honest, magical and true.
Even as critics cobble together their year-end and decade-end lists, 2010 is already beginning to take shape. The Sundance Film Festival
Each of the Notebook's writers were given the opportunity to submit their ten favorite films of 2008 given at least a week's theatrical run
Each of the Notebook's writers were given the opportunity to submit two lists of their ten favorite films of 2008. One is restricted to films
Each of the Notebook's writers were given the opportunity to submit two lists of their ten favorite films of 2008. One is restricted to films
Just as Bach’s set of preludes and fugues encompasses a number of styles, A Christmas Tale delivers a fair amount of dark comedy mixed with well tempered melodrama in the highly literate story of a… read review
From the moment it started, it was pretty clear this film was made for me. It’s French with some of the most magnificent actors the country has to offer and centers around a dysfunctional family coming… read review
The film had been given free from a suscription to the Stella Artois beer company, I saw it a few days ago having had the release of the film during the 61st Cannes film festival in 2008. I myself… read review
Intellectualisme pénible, verbeux, pompeux – 31/01/2009
Desplechin est l’auteur d’oeuvres méditatives et anxiogènes. Ce conte de noël est une sarabande étrange et déroutante sur le règlement… read review