#Nicolas Boukhrief

[vintagewarhol]

[mnetn]

alex 🔍

bon alors...jsuis aller voir second tour au cinéma et j'suis littéralement retombée dans ma période dupontel qui date à peu près d'il y a 2 ans (avec grand plaisir et oui ok il ne l'a pas réalisé mais quelle masterclass)

j'vais très sûrement faire des edits sur ses films 🙌

et plus sérieusement la première fois que jlai vu bah je m'attendais absolument pas à ça mais genre v r a i m e n t p a s (un pur produit de son époque bien sous-côté)

pardon j'ai pu faire qu'en 16:9 pour le format

[cinecritik]

Sans complaisance ni parti pris, #Commeunfils traite avec subtilité et délicatesse un essai d’intégration d’un jeune marginal avec des acteurs touchants. Une production simple et remplie d’espoir qui fait du bien par les temps qui courent.

www.cinecritik.com

[byneddiedingo]

Michel Serrault and Mathieu Kassovitz in Assassin(s) (Mathieu Kassovitz, 1997) Cast: Michel Serrault, Mathieu Kassovitz, Hélène de Fougerolles, Danièle Lebrun, Léa Drucker, Mehdi Benoufa, Robert Gendru, François Levantal. Screenplay: Nicolas Boukhrief, Mathieu Kassovitz. Cinematography: Pierre Aïm. Production design: Philippe Chiffre. Film editing: Mathieu Kassovitz, Yannick Kergoat. Music: Carter Burwell. Perhaps no movie since Network (Sidney Lumet, 1976) has sledgehammered television quite so thoroughly as Assassin(s). But where Network took the business of television for its target, Assassin(s) aims at the medium's ubiquity and its desensitizing effect on viewers. It's not a novel point, of course, and even the spin writer-director Mathieu Kassovitz decides to give it -- the effect TV has in creating a culture of violence -- is neither fresh nor unquestioned. The story at the film's center is about an aging professional hit man, Mr. Wagner (Michel Serrault), who takes on a young petty thief, Max (Kassovitz), as his apprentice. It's set in the Parisian banlieus that were the socio-political milieu for Kassovitz's earlier (and much better) film about violence, La Haine (1995). It opens with Mr. Wagner guiding Max into the brutal and entirely gratuitous murder of an elderly man, and then flashes back to bring the story up to a recapitulation of the event -- rubbing our noses in it, so to speak. Max is a layabout and a screwup, but there is a core of reluctance within him that Mr. Wagner is determined to obliterate. Eventually, Max takes on his own protégé, a teenager named Mehdi (Mehdi Benoufa), who is decidedly not reluctant to engage in a little killing, seeing it as just an extension of the video games he plays. Throughout the film, television sets are blaring game shows, commercials, sitcoms, and even nature documentaries in the background, an ironic if sometimes heavy-handed counterpoint to the murders committed by Mr. Wagner, Max, and Mehdi. Kassovitz stages much of the film well, extracting full shock value, and he sometimes embroiders the realism of the story with surreal touches: At one point, when Mr. Wagner is walking away from Max, we see a demonic tail emerge from beneath Wagner's overcoat -- or is it Max, perpetually stoned, who sees this? More effectively, reinforcing Kassovitz's treatment of the effects of television, Mehdi -- who is coming unglued after his first commissioned hit -- watches a TV sitcom about a group of young people that suddenly turns into violent, necrophiliac pornography, accompanied by a laugh track. Kassovitz showed undeniable talent with La Haine, and some of it is on display here. Assassin(s) was booed at the Cannes festival, and has never received a wide commercial release in the United States, but it's something of a fascinating (if often repellent) failure.

[culturevsnews-blog]

Comme un fils De Nicolas Boukhrief Avec Vincent Lindon, Karole Rocher, Stefan Virgil Stoica

Jacques Romand est un professeur qui a perdu sa vocation. Témoin d’une agression dans une épicerie de quartier, il permet l’arrestation de l’un des voleurs : Victor, 14 ans. Chronique : Comme un fils est un drame poignant réalisé par Nicolas Boukhrief, qui aborde des thèmes puissants tels que la rédemption, la résilience et la lutte contre l’injustice sociale. Le film se distingue par une…

[inapat17]

THE AUSTRALIAN NEW WAVE 4/4 : MONEY MOVERS (1978) DIRECTED BY BRUCE BERESFORD.

This is the fourth and last article of a series dedicated to the Australian new wave films of the 1970s. We are going to deal with a relatively unknown heist movie directed by an important director of the new wave: Bruce Beresford. Beresford signed a contract with the South Australian Film Corporation to make a couple of films in two years. This one is a violent, brutal and full of tension tense movie which takes place in a cash in transit company, whose owner is the victim of an anonymous letter announcing the forthcoming robbery of a 20 million dollar convoy. The story deals loosely with two real-life events, the 1970 Sydney Armoured Car Robbery and a 1970 incident involving money stolen from Metropolitan Security Services' offices by bandits impersonating policemen.

The film opens by to a tense and bloody heist and then we follow cash-in-transit agents building another heist against their own company. The film's originality lies in the fact that the robbery is concocted by the very people who are normally paid to prevent the hold-ups. And what would happen if the courtiers and the gangsters formed an alliance?

The movie is very much anti spectacular apart from the rare moments of extreme and frontal violence. There is an editing of absolute precision. It has a slow rhythm until the final explosion of blood and brutal violence. Money Movers also has a strong documentary value. The film was based on the 1972 novel The Money Movers by Devon Minchin, founder of Australia's largest armoured car/security company: the Metropolitan Security Services. The newspaper Le Monde reported that the prevention of Banditry services had privately screened this movie for their inspectors, which was then presented as a case study in their training courses.

This movie holds a social comment, very much like Paul Schrader did with his movie Blue Collar (where three workers of an automobile plant rob the union's cash office to settle their debts). We find out that these low-paid employees can pretend to be perfect thieves, but they will always be losers in the end.

Money Movers was released in Australia in early 1979 but failed badly at the Box Office. This is why it was not distributed in France until 1986, before having a modest video career. The French director and critic Nicolas Boukhrief must have seen it before making Le Convoyeur in 2004, which also takes place in a cash-in-transit company (called Vigilante), victim of three violent robberies in one year.

Romain Dupeyras

[supatainmentbuzz]

🌟💍👸🕺💃🎥 Vincent Lindon as a depressed French teacher saved by a young Roma man With this new humanist feature film, Nicolas Boukhrief tells the moving story of an encounter between two bereaved souls, on one side a lonely and disillusioned profes...... 🎶🏆💔📸🎉

[delectablywaywardbeard-blog]

Vincent Lindon, 'io professore che aiuta le minoranze'

La mancata inclusione della comunità rom nella Francia contemporanea è al centro di Comme un fils, film diretto da Nicolas Boukhrief con protagonista un professore di storia, bibliofilo e vedovo (Vincent Lindon), con una figlia ormai adulta e lontana per lavoro. Un insegnante che si è appena messo in congedo, dopo un’aggressione avvenuta nella sua classe.     Quando ritiene ormai esaurita la sua…

[cinesludge]

Movie #14 of 2022: Wrath of Man

Bullet: “I like the way you handle that cart. Where'd you learn that technique?”

H: “I spent a lot of time at supermarkets. Shopping.”

[movie-titlecards]

Off Limits (2010)

My rating: 3/10

Ultra-dry French take on the old "corrupt system forces Good Cops to Take The Law Into Their Own Hands" thing - the plot is fine, if unoriginal, but the very detached and understated style of the movie made it very hard for me to engage or care. I guess they were going for "cool", but instead they just ended up leaving me cold.

[crypticmoviereviews]

Silent Hill

this film was so amazing this film is so underrated and doesn't get the appreciation it deserves.My favorite character was definitely Cybil because I feel like in survival movies you always have to have at least one character that’s a total bad ass. The film follows Rose, who takes her adopted daughter, Sharon, to the town of Silent Hill, for which Sharon cries while sleepwalking. Arriving at Silent Hill, Rose is involved in a car accident and awakens to find Sharon missing; while searching for her daughter, she fights a local cult while uncovering Sharon's connection to the town's dark past. the kill count for this movie is 9

[kino51]

Trois jours et une vie   2019

[mia-miai]

La Confession - Nicolas Boukhrief

“ Pour être honnête, je n'ai pas j’aimais su au fond si c'était Dieu que j'aimais à travers lui, ou lui que j'aimais à travers Dieu.”

[movienized-de-blog]

La confession (2017) - mehr auf: http://movienized.de/la-confession-2017/

[artfilmfan]

The Confession (Nicolas Boukhrief, 2016)

cinematography: Manuel Dacosse

[hazzation]

Burning out - Wrath of Man | Action Thriller 2021 | in a nutshell