It seems Marion is linked to a new French film that is supposed to shoot this fall in the Paris area. The film, Gueule D’Ange is reportedly looking for a little girl to play the role of Marion’s daughter. It’s not clear what the plot will be yet but the film will be directed by French director Vanessa Filho.
In the past few months, Marion has attended to festivals in France: the first one, of course, the renowned Cannes Film Festival, and the second one a smaller film festival, the Romantic Film Festival of Cabourg. In Cannes, Marion presented her latest film Les Fantômes d’Ismael and in Cabourg she attended as president of the Jury.
I have added hundreds of high quality photos of several events/days of both film festivals so be sure to check them out.
This year’s festival in Cannes seems to have marked a rupture in the contract Marion held with Dior since 2008, after fronting 15 of their campaigns. We have read the rumours and were hoping for an official confirmation before publishing it on the website but the fact that there have been no Dior campaigns fronted by Marion this year yet and the fact that she has not worn a Dior creation at any events she’s attended pretty much confirms it for us that Dior and Marion have split. While it’s sad that we won’t see any future Lady Dior campaigns, I personally feel this has given her a chance to wear other creations and designers and refresh her look a bit. What do you think?
You can read an article on the rupture here.
Please bear in mind we have no knowledge as to whether the allegations in that article are true, just that the rupture between the brand and the actress seems to have indeed happened.
I have also added new shoots to the site, from Cannes and by Jean Baptiste Mondino.
I will hopefully be working on the video archive throughout the summer as there are still hundreds of videos to add to it. Enjoy!
003 Sessions from 2017 > Numero
002 Sessions from 2017 > The Hollywood Reporter
002 Sessions from 2017 > Cannes Session 001
001 Sessions from 2017 > Cannes Session 002
001 Sessions from 2017 > Vanity Fair (May)
189 Events in 2017 > ‘Les Fantômes d’Ismael’ Photocall – 70th Cannes Film Festival
015 Events in 2017 > ‘Les Fantômes d’Ismael’ Press Conference – 70th Cannes Film Festival
136 Events in 2017 > ‘Les Fantômes d’Ismael’ Premiere – 70th Cannes Film Festival
029 Events in 2017 > Opening Gala Dinner – 70th Cannes Film Festival
005 Events in 2017 > French Party – 70th Cannes Film Festival
028 Events in 2017 > Chopard Trophy photocall
128 Events in 2017 > 70th Anniversary of the Cannes Film Festival
030 Events in 2017 > 70th Anniversary of the Cannes Film Festival – Dinner
024 Events in 2017 > Annabel’s & Chopard Party – 70th Cannes Film Festival
064 Events in 2017 > 31st Cabourg Film Festival – Day Two
071 Events in 2017 > 31st Cabourg Film Festival – Closing Ceremony
Translation from Madame Figaro’s “Marion Cotillard: I’ve once wanted to disappear and start from scratch”‘s article from their May 2017 issue. Photos here.
She is the vibrant heroine of film that opens this year’s Cannes Film Festival, Les Fantômes d’Ismaël, by Arnaud Desplechin. But today it’s alongside her family, far from the bright lights, that the superstar wants to savor her happiness after the birth of her second child.
A rainy afternoon in Paris. In a renowned Parisian hotel, Marion Cotillard walks back and forth between the room where photographer Dominique Issermann captures her photo for Madame Figaro, and an adjoining room where she regularly feeds the insatiable Louise, her baby only a couple of weeks old. The actress and the mother, two sides of a woman that merge into an even more touching version of herself, cradling her child during the interview.
The end of last year completely drained her: two world tours, pregnant, to follow the releases of the American block-busters Allied and Assassin’s Creed. The return to France was marked by childbirth and the release of Rock’n’Roll, a stripping of the celebrity life, signed by her companion, Guillaume Canet.
Marion Cotillard regained her Parisian habits. This year, she swears, we will not see the exceptional actress perform in more than one film, Les Fantômes d’Ismael, by Arnaud Desplechin, and which had the honor of opening the Cannes Film Festival on this past Wednesday, which was also the day it was released in France.
A return to a world that is dear to her, that of the cinema d’auteur. And especially into the world of Desplechin, a certified “left bank” director, who welcomes her into a family of actors led by Mathieu Amalric, who plays her husband in the film. She is Carlotta Bloom, his wife, who suddenly reppears, after over 20 years gone missing, just as he is rebuilding his life with Sylvia (Charlotte Gainsbourg), an astrophysicist who seems to appease the tumults this excessive artist, whose existence oscillates between chaos and poetry.
What is the mood of the moment?
It is a lot of sweetness, joy and devotion: I’m dedicating myself entirely to my family, and it’s been wonderful. I needed calm after the chaos of my last promotional tours. It was a lot for my condition as a pregnant woman, but it was unthinkable not to accompany those films I loved.
Was it not unreasonable to work so much at that time?
I do not ask myself that sort of question. I managed to make time – I don’t know how but I did – to be close to the people I need and who need me. Everything else, it was my choice. And last year ended up being the one where I was able to refocus, as well.
Do you need a mind and body of steel in order to sustain very demanding cinematographic experiments?
I am very endurant: I have a body that follows through wonderfully. I have no right to complain: I have made choices which are choices allowed to someone privileged. It’s a luxury to be an actor when you have children. I’m thankful every day for the luck I have, to be able to organize my life around them. During a shoot, while they’re little, I can see them in my trailer between two scenes.
Do we acknowledge the possibility of being a bad mother when we are an actress?
The business has changed a lot. What was probably true for the actresses of yesterday is no longer true today: motherhood is completely integrated. The child is at the center of the concerns of many actresses and mothers, and people are very respectful of that.
Does not it bother the directors or producers when they know an actress is pregnant?
That may be a fear for some, but if they hire you, they do it knowingly. During the shooting of Arnaud Desplechin, I was pregnant but I didn’t say anything, because I was less than three months pregnant. And then I was shot by paparazzi, and the pictures came out where they claimed I was five months pregnant, probably to stir things up. I called Arnaud Desplechin so that he would hear it from me. And he was very happy for me…
The news went well with the theme of his film, which is a hymn to life …
Yes, life shows in all the characters; even those who are close to death, there’s a last thing to live through, life gives them a final embrace. Besides, my character is called Carlotta Bloom: “bloom” means “to flourish” in English. Life flourished among the bruised – her husband, played by Mathieu Amalric, his father …
Working with Desplechin, in a cinéma d’auteur genre, was that important for you?
I’ve worked with him before, twenty years ago: I have a scene in How I Fought … (my sex life). I was half naked, so very uncomfortable. I don’t think anyone noticed me. Today, we are both very different people, and I was very happy to work with him again, and with such a beautiful, strong role.
How was it meeting Charlotte Gainsbourg?
She is a great actress, who constantly takes incredible risks in films. We didn’t know each other before. She is very delicate. There was a lot of sweetness in our exchanges. We did not talk about cinema, only about life and our children …
Carlotta, your character, is quite Shakespearean. One may even think she does not exist …
She could in fact not exist, being a ghost of the past, but for me she is very real, very alive, very anchored. It’s a paradox: on one hand, she is frontal, cheeky and sincere, on the other, she is completely enigmatic and aerial. We don’t really know where she comes from, or how she returns. She is both mystery and the opposite of that. I like playing these kind of characters, complex, deep, paradoxical.
Does she resemble you?
When I was a teenager I had, like her, the desire to leave, to disappear and to start all over again elsewhere, to relief myself of the weight of my life then. I was in pain, I dreamed of making my life in a place where I could be who I dreamed of being.
I couldn’t clearly identify the discomfort, but I got over it, although there may be small relapses sometimes. I ended up finding a way to stop hating myself.
It takes courage to leave …
It takes so much more courage to stay and accept to be who we are.
Is 2017 the year of rebirth for you, with a second child and a return to French cinema?
It will be a year of rest. I will not shoot a movie in the next few months, I have said no to everything that was offered to me, even to directors whom I adore. I want to make time for my family and for myself. My son begins school and my daughter is a tiny baby. I want to spend my time with them, with their father, it’s both a desire and a need. When I work, I’m completely committed, and that’s not what I want for me right now.
Do you remember your first time at Cannes?
It was a long time ago, I was part of an operation launched by Canal + called “Les Dix de Canal”. It had been a long casting process, Audrey Tautou was also part of it. I was very impressed, at the time I still felt very weird in my own skin, although I was trying to overcome it. A few years later, there was Midnight in Paris in competition, but I couldn’t be there because I gave birth to my son, Marcel, who was born in May. The first time I was in Cannes with a competing film was with Rust and Bone, by Jacques Audiard.
Cannes hasn’t really brought you much luck so far. Despite remarkable performances in The Rust and Bone, The Immigrant, Two Days, One Night or Stone Mischief, you have not yet received the Interpretation Award …
I feel so lucky to be able to bring films to Cannes. I have never been into the competition side of it. I have a very ambiguous relationship with the prizes. On one hand, I find that it makes no sense, on the other hand, I participate in it fully. But there is never any disappointment if I do not get an award. I know today that the need for recognition is an almost-pathological condition: one does not get rid of it by receiving prizes.
In retrospect, how do you feel when you remember the evening of February 2008 in Hollywood, where you got an Oscar for the La Vie en Rose?
I did not think it was possible and I was not expecting anything. I had a lot of fun campaigning for it, I was amazed at everything. Receiving the award was a surprise, and of course an enormous joy.
Yesterday, May 17, Arnaud Desplechin’s new film, Les Fantômes d’Ismael, opened the 70th edition of the Festival de Cannes. The film was met with both negative and positive reviews and is also now showing across France. Marion attended all the usual events throughout the day: The film’s photocall in the early afternoon, where she wore a design by Y/Project Fall 2017, the press conference right after the photocall, the film’s premiere in the evening, wearing Jean Paul Gaultier Couture, and the Opening Gala Dinner, this time dressed in Channel Resort 2018. She has also given numerous interviews which I will try to gather up and post to the video gallery as soon as I can.
I have added hundreds of high quality images from this event to the gallery so be sure to check them out. I’ll be adding more to each gallery as I find them.
027 Events in 2017 > Arriving at Nice’s airport
189 Events in 2017 > ‘Les Fantômes d’Ismael’ Photocall
015 Events in 2017 > ‘Les Fantômes d’Ismael’ Press Conference
136 Events in 2017 > ‘Les Fantômes d’Ismael’ Premiere
029 Events in 2017 > Opening Gala Dinner
On top of that, we have a new design, which I hope you guys like as much as I do.
I’m going to keep updating the site with Marion’s appearance in Cannes today so keep checking back!
336 Specials > Stupéfiant (France 2) – 15/05/2017
012 Events in 2017 > Arriving at Nice airport
005 Events in 2017 > Diner du Cinéma Madame Figaro
001 Les Fantômes d’Ismael > Stills
001 Les Fantömes d’Ismael > On Set