As a seasoned film critic who has traversed the seven seas and countless cinemas, I find myself consistently astounded by the sheer brilliance that is Isabelle Huppert. The 15th edition of the Lumiere Film Festival in Lyon was a testament to this truth, as it paid homage to an artist whose career spans over five decades and has left an indelible mark on world cinema.
At the 15th annual Lumiere Film Festival in Lyon, French actress Isabelle Huppert was honored with a wide-ranging tribute for her global impact, as filmmakers Alfonso Cuarón, Claire Denis, Alejandro Jodorowsky, and François Ozon paid their respects on October 18th.
Huppert initiated the celebrations by strutting into the grand auditorium, which could seat three thousand people, while grooving to the 80’s disco rhythms of “Nuit de folie.” She was adorned in a glittery champagne dress.
The cheerful event, hosted by Thierry Fremaux – a long-term friend of Huppert and the head of Cannes Film Festival who also manages Lumiere Film Festival – featured various live musical performances. These included Camelia Jordana singing “I Will Survive” a cappella, Julien Clerc playing his 1978 hit “Ma Preference” on the piano, and French actress Sandrine Kiberlain playfully singing “Nuit de folie,” which was unexpectedly one of Huppert’s favorite songs throughout all time.
The most lively tribute of the night came from Academy Award-winning Mexican director Alfonso Cuarón (“Roma”), who, though he hasn’t directed her yet, expressed his affection through a love letter dedicated to French actress Isabelle Huppert. In this letter, he credited his admiration for French cinema to her.
In essence, Cuaron stated that these movies are deeply rooted in politics and also showcase an extraordinary sensual portrayal of heritage, which is scarcely found in global cinema. What truly sets French cinema apart, according to him, is its emphasis on character growth, personal connections, and the intricate human experience, encompassing both our strengths and vulnerabilities. Noemie Merlant, his stage companion (“Tár,” “Portrait of a Lady on Fire”), translated his speech into French.
In my opinion, it’s here that the secret resides – a riddle too complex for complete understanding. One of the master manipulators of these enigmas is Isabelle Huppert. For more than five decades, Isabelle Huppert has bewitched us on screen, encouraging us to delve into realms we once feared to tread. She’s been our guide through the intricate maze of our flaws, disappointments, and longings, leading us with elegance, urging us to accept our remorse and disillusions wholeheartedly, and even find delight amidst suffering.
Upon entering the stage amidst a storm of applause, an emotional Huppert left the crowd in stitches when she jokingly questioned, “Why is everyone cheering for me so much? I just make movies!
Through films, I’ve traveled globally, yet I haven’t completed my journey,” Huppert expressed. “Regardless of how often I act, I always wonder: What is there for me to express? In truth, I am unsure. What I am certain of is that a screen both reveals and conceals. It communicates the things you don’t wish to express, yet it remains silent on the matters you yearn to share.
It safeguards and reveals; much like a shield, it guards every individual I’ve encountered who has indelibly touched my life. We’ve made an unbreakable bond, and they’ve never let me down. Without them, as the saying goes, I wouldn’t exist. And that statement holds true. They’ve bestowed upon me the most valuable gift: they’ve seen me. That’s what cinema does. Cinema sees me. It aids in living to be seen.
In Huppert’s words, “Cinema helps preserve our cherished moments. Memories, singular and plural, carry great significance. Consider the radiant instant when I awaken tomorrow; it will remain a precious memory for all eternity.
The tribute also included a montage of clips from all of Huppert’s performances spanning over 50 years, including her most iconic roles in films such as Michael Haneke’s “The Piano Teacher,” Claude Chabrol’s “La Cérémonie,” Paul Verhoeven’s “Elle,” Francois Ozon’s “8 Women,” Bertrand Tavernier’s “Coup de torchon,” as well as Michael Cimino’s 1980 epic Western movie “Heaven’s Gate.”
During the awards event, I found myself reminiscing about Michael Cimino, a fellow movie enthusiast who never truly bounced back after his masterpiece “Heaven’s Gate” was harshly criticized. I had the honor of standing by him when he graced the Lumiere Festival in 2012, showcasing the restored version of “Heaven’s Gate.
From the initial viewing, it was clear that the entrance to heaven would close swiftly, while hell’s door would open for Michael, according to Huppert,” said she. “This event left a deep impact on him, and he never truly recovered. The showing of ‘Heaven’s Gate’, here in Lyon, seemed like a reconciliation between the film and himself for him. It brought him immense joy, a feeling he had long sought from the U.S., but ultimately found in France.
At the grand celebration, a diverse group of Huppert’s supporters and old acquaintances from various parts of the globe were present, such as Irène Jacob, president of the Lumiere Film Festival and an actor, Melita Toscan du Plantier, producer, Vincent Perez, James Franco, Karine Silla, Iris Knobloch, president of Cannes Film Festival, filmmaker Fernando Meirelles, U.S. distributor Richard Lorber, producers Charles Gillibert and Victor Hadida, French distributor, among others.
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2024-10-19 12:47