#thomas doret

[mariwatchesmovies]

Le Gamin au vélo | The Kid with a Bike (2011) dir. Jean-Pierre Dardenne and Luc Dardenne cine. Alain Marcoen

[byneddiedingo]

Egon Di Mateo and Thomas Doret in The Kid With a Bike (Jean-Pierre Dardenne and Luc Dardenne, 2011)

Cast: Thomas Doret. Cécile de France, Jérémie Renier, Fabrizio Rangione, Ego Di Mateo, Olivier Gourmet, Baptiste Sornin, Samuel De Ryck, Carl Jadot. Screenplay: Jean-Pierre Dardenne, Luc Dardenne. Cinematography: Alain Marcoen. Production design: Igor Gabriel. Film editing: Marie-Hélène Dozo.

Jean-Pierre and Luc Dardenne have said that they were influenced by fairytales when they wrote and directed The Kid With a Bike. Like the Grimm brothers, the Dardenne brothers don't bother giving the backstories of the "good" and "bad" characters in the film. We don't ask how the wicked stepmothers in fairytales got to be so wicked or why the fairy godmothers are so good. In a similar fashion, we are never told what causes Guy Catoul (Jérémie Renier) to be so coldly abrupt in cutting his own son, Cyril (Thomas Doret), out of his life, to the point that he sells the boy's beloved bicycle and puts him into a group home. He provides an economic motive -- he can't afford to support the boy -- but refuses even to make contact with him. Nor do we learn what makes Samantha (Cécile de France) so willing not only to buy the boy's bike from the man Catoul sold it to but also to take the boy himself into her own life. After all, her first encounter with the enraged, belligerent child is in the waiting room of a clinic, where he clings to her for help as the attendants from the group home try to subdue him. She seems to have a settled life as a beautician with a handsome boyfriend. Why borrow such obvious trouble? I felt another literary influence at work in the film: Charles Dickens, who set his tales of rescued orphans like Oliver Twist and David Copperfield in the realistic context of 19th-century England. The Dardennes set their story about Cyril in the context of 21st-century Belgium's working-class suburbs. Like Oliver Twist, Cyril Catoul falls prey to the underworld: He is persuaded to take part in a robbery by a kind of Fagin, a gang leader who calls himself Wesker (Egon Di Mateo), after a character in the Resident Evil video game franchise. The Dardennes don't take a fully neorealist approach to the story: The Kid With the Bike is not an exposé, but rather a tribute to human kindness overcoming contemporary anomie. It is made plausible by their matter-of-fact approach, but mostly by the performances, especially that of 13-year-old Doret, who had never acted before, but brings full conviction to every scene, including his rages and his hunger to be reunited with his father, as well as his eventual acceptance of Samantha's love and authority. The directors never milk a moment for sentiment: The only non-diegetic music on the soundtrack is the occasional punctuation at the end of a scene with a few bars from Beethoven's "Emperor" concerto, which has the tantalizing effect of keeping us suspended until the rest of the adagio is performed over the end credits.

[ulkaralakbarova]

The Kid with a Bike

Abandoned by his father, a young boy is left in the hands of an unqualified childcare provider. Credits: TheMovieDb. Film Cast: Samantha: Cécile de France Cyril: Thomas Doret Guy: Jérémie Renier Le libraire: Fabrizio Rongione The Bar Owner: Olivier Gourmet Wes: Egon Di Mateo Educateur 1: Baptiste Sornin Educateur 2: Samuel De Rijk L’assistante médicale: Myriem Akheddiou Film Crew: Producer:…

[filmes-online-facil]

Assistir Filme O Garoto da Bicicleta Online fácil

Assistir Filme O Garoto da Bicicleta Online Fácil é só aqui: https://filmesonlinefacil.com/filme/o-garoto-da-bicicleta/

O Garoto da Bicicleta - Filmes Online Fácil

Cyril Catoul (Thomas Doret) tem 11 anos de idade e um objetivo: encontrar o pai, que o deixou em um orfanato. Por acaso ele conhece Samantha (Cécile de France), a administradora de um salão de cabeleireiro, que permite que o garoto passe os fins de semana com ela. Entretanto, Cyril não consegue reconhecer o carinho com o qual é tratado por Samantha, graças à raiva que sente por ter sido abandonado pelo pai.

[samsdei]

Thomas Doret

[lostgoonie1980]

150. O Garoto da Bicicleta (Le gamin au vélo, 2011), dir. Jean-Pierre Dardenne & Luc Dardenne

[gregor-samsung]

Le gamin au vélo [The Kid with a Bike] (Jean-Pierre and Luc Dardenne, 2011)

[biokam]

Cécile de France and Thomas Doret in The Kid With a Bike (Jean-Pierre Dardenne and Luc Dardenne, 2011)

[mclegsmrloui]

Renoir (2012) Director: Gilles Bourdos, Actores: Vincent Rottiers, Christa Théret, Michel Bouquet, Thomas Doret.

Basada en el libro escrito por el nieto del pintor francés, Renoir es una película que cuenta los últimos años de la vida de Pierre-Auguste Renoir, que dedicó la última parte de su carrera a estudiar el cuerpo femenino, retratándolo constantemente en la naturaleza. También nos cuenta la historia de su última modelo, y como ella se enamoró de su hijo, es a través de sus ojos como conocemos al pintor inmortal, lo conocemos como padre, como patrón, como dueño y como amante, a través de ella le ponemos alma al hombre detrás del pincel, muchas veces el último en el que pensamos al ver sus lienzos.

Andrée es modelo, artista, cantante y actriz, realmente lo que sea, pues el tiempo hace dificil que la gente sea quisquillosa, vive en medio de la Gran Guerra en el sur de Francia, donde muchas veces los soldados no regresan a sus ciudades o lo hacen enfermos o amputados, la expectativa es alta, deben vencer. Ella llega a la casa de Renoir padre, el famoso pintor que ahora, por la artritis y la vejez se ha mudado a una hermosa casa en el clima cálido, donde no hace más que pintar. Al llegar, y tras insistir, es contratada, y se dedica a posar mientras las sirvientas de la casa susurran algo a sus espaldas, todos conocen algo que ella no. Al poco tiempo, desde el frente, llega Jean, el hijo preferido del patrón, con centímetros menos de pierna y suerte de no haber muerto en la batalla. Renoir padre no quiere que regrese, pero Jean no es otra cosa más que soldado, pero poco a poco, gracias a Andrée se dará cuenta de que vale para algo más, y decide probar su suerte con ella.

Una película visualmente hermosa, la fotografía refleja la naturaleza de la provincia francesa y se siente, verdaderamente, como una pintura de Renoir. La producción también es magnífica, cuidando los detalles de la época y del tipo de historia que busca contar. Las actuaciones son de igual manera, excelentes, desde el anciano aferrado de Rottiers, hasta la amorosa y oportunista de Théret, pasando por el niño problemático de Doret y el iluso pero soñador de Bouquet. Renoir es una película excelentemente realizada que, a pesar de que flanquea un poco en su objetivo, entrega un trabajo preciso y hermoso, estéticamente plácido, y perdurable. 

[screenshottery]

Thomas Doret as Cyril in The Kid with a Bike (2011, Jean-Pierre and Luc Dardenne, dir.)

[artfilmfan]

The Unknown Girl (Jean-Pierre Dardenne & Luc Dardenne, 2016)

[confessions123midi]

2011; dir. Jean-Pierre & Luc Dardenne

My review of the Criterion Collection Blu-ray.

[therend]

Ok so my first language is Farsi and i just wanted to share some of my favorite endearments with you. I like to imagine the Carstairs siblings using these while talking to their men, or teaching these to their men, since both Thomas and James know Farsi but can obviously use learning some extra soft phrases.

Jānam / Jan-e dēlam جانم / جانِ دلم

Jān in persian means life, soul. When you call someone jānam, you're calling them your life or your soul. Jān-e dēlam is another way of using it, and it means "my heart's soul", or "my heart's life". You can use both just to call someone, the way you may call someone dear, or idk, babe. but the way i like it best is for answering someone's calling you. For example:

James: um, Daisy...

Cordelia: Jānam?

James: can you please pass me the sugar?

Which translates to:

James: Daisy?

Cordelia: Yes, My Soul? Yes, The Person for Whom I'm Willing to Give My Life? do speak, Dear Human Being Who I Love Deep Down in My Entire Being? (I'm not making it up it means all this!)

James, tearing up: wH –

Another example:

Thomas: Alastair?

Alastair: Jān-e dēl-e Alastair? (a.k.a: what were you meaning to tell me, You Who Are Alastair's Heart's Soul? You Who Are The Reason Alastair's Heart (=his love, affection, tenderness) Lives Within his Chest?

And this phrase is actually used, and very commonly. I'm not making it up.

Fadāt besham / ghorboonet beram فدات بشم / قربونت برم

Both mean "I'm willing to be sacrificed for you". Commonly used, for when you want to express lots of tenderness.

Doret begardam دورت بگردم

Another way of saying the latter one, but with more ✨ spice✨. Its literal translation is "I would dance around you". That sounds weird in English, i know. But hear me out: you know how bugs can't help themselves getting close to light sources? There's this trope in Persian literature, about The Candle and The Butterfly. The Butterfly is always flying around The Candle, so close, because it's so in love with The Candle that it can't survive being away from it. The Butterfly keeps dancing around The Candle, admiring it. It's a tragic love story: The Butterfly's wings will always burn, flying that close to The Candle, and The Candle will cry tears of wax, seeing its lover's sad end, until there's nothing left of its body, and it, too, will die after The Butterfly. it's used to say i would be there for you, love you, adore you, even if it's going to cause me such a terrible death. It means in my opinion you're worth being sacrificed to.

Golam گلم

Gol is the Persian word for flower. It's so common to call your beloved golam, which translates to "my flower". Flower in Persian literature is usually used as a symbol of lover, since birds seem to be in love with it, and a symbol of beauty, since, well, it's beautiful. So by calling someone your gol, you're telling them they're beautiful and lovely and you love them so much.

Negar نگار

The word itself means a beautiful, artfully done piece of art (usually drawings and stuff like that). But since Persian poets are all a little bit Extra (well, aren't all poets, really?) They started using this word when referring to their lover, and they did it so often that now negar is used as another way of saying "lover", empathizing the fact that said lover is beautiful (and not just beautiful by appearance and looks, since the beauty of art itself, sinks so much deeper than just the colors and shapes you can see at first sight. God, Matthew would love all this). Oh, by the way, the word Negar is also used as a girl's name – not that you can only call your lover your negar if they're a girl.

Sanam صنم

This one's another completely irrelevant word whose meaning was changed by the poets. Sanam means idol. You call someone your sanam when you're so madly in love with them that they literally become your god. (Thinking about Mr. Hozier, huh?)

So. These are what i can think of right now! Hope you enjoy skjsksks.

Check out the second post here!

[opera-ghosts]

  Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone who enjoyed a long career that took him to opera houses throughout Europe and the United States for more than four decades. Admired for both his singing and his acting, Dufranne appeared in a large number of world premieres, most notably the role Golaud in the original Opéra-Comique production of Claude Debussy's Pelléas et Mélisande at the Salle Favart in Paris in 1902, which he went on to sing 120 times at that house. He had an excellent singing technique which maintained the quality of his voice even into the latter part of his career. His wide vocal range and rich resonant voice enabled him to sing a variety of roles which encompassed French, German, and Italian opera.  He studied at the Brussels Conservatory with Désiré Demest before making his professional opera debut in 1896 at La Monnaie as Valentin in Charles Gounod's Faust. He returned to that opera house several times to sing such roles as Grymping  in Vincent d'Indy's Fervaal (1897), Alberich in Richard Wagner's Das Rheingold (1898), Thomas in Jan Blockx's Thyl Uylenspiegel (1900), Thoas in Christoph Willibald Gluck's Iphigénie en Tauride (1902), the Innkeeper in Engelbert Humperdinck's Königskinder (1912), and Rocco in Ermanno Wolf-Ferrari's I gioielli della Madonna (1913). Dufranne sang at the Opéra-Comique in Paris from 1900 to 1912, making his first appearance as Thoas. He appeared in several world premieres with the company including creating the roles of Saluces in Griselidis (1901), the title role in Alfred Bruneau's L' Ouragan (1901), Golaud in Pelléas et Mélisande (1902), Amaury-Ganelon in La Fille de Roland by Henri Rabaud (1904), Koebi in Gustave Doret's Les Armaillis (1906), the title role in Xavier Leroux's Le Chemineau, Clavaroche in Fortunio by André Messager (1907), the fiancé in Raoul Laparra's La Habanéra (1908), and Don Iñigo Gomez in Maurice Ravel's L'Heure espagnole (1911). He also sang Scarpia in the Opéra-Comique’s first production of Giacomo Puccini's Tosca (1909). Dufranne also appeared periodically at the Paris Opera beginning in 1907. He notably portrayed the role of John the Baptist in their first production of Richard Strauss's Salome (1910). He also sang at the Opéra de Monte-Carlo in 1907 where he took part in the creation of two world premieres, the role of André Thorel in Jules Massenet's Thérèse and the title role in Bruneau's Naïs Micoulin. In 1914 he sang the role of Golaud in his only appearance at the Royal Opera, Covent Garden in London. In 1908 Dufranne we nt to the United States for the first time to sing with the Manhattan Opera Company in the American premiere of Pelléas et Mélisande. He returned for several more productions through 1910, appearing as le Prieur in Le jongleur de Notre-Dame (1909), Caoudal in Sapho (1909), Rabo in Jan Blockx's Herbergprinses (performed in Italian as La Princesse d'Auberge, 1909), John the Baptist in Richard Strauss's Salome (1910), and Saluces in Massenet's Griselidis (1910). He also sang with the Chicago Grand Opera Company and the Chicago Opera Association from 1910 to 1922, creating there Léandre in The Love for Three Oranges (in French) by Sergei Prokofiev, in 1921.  In 1922, Dufranne returned to Paris where he continued to appear in operas in all the major houses in addition to appearing in other opera houses in France. He also spent a brief time performing in Amsterdam in 1935. In 1923 he created the part of Don Quixote in the stage première of El retablo de maese Pedro under the baton of the composer, Manuel de Falla. The performance was for a private audience and was held in the private theatre of Winnaretta Singer, Princess Edmond de Polignac; he repeated the role in a Falla triple-bill at the Opéra-Comique in 1928. In 1924, he appeared at the Théâtre des Champs-Élysées in the world premiere of Léon Sachs's Les Burgraves. With the outbreak of World War II in 1939, Dufranne retired from the stage, with his last performance being the role of Golaud at the opera house in Vichy. He lived in Paris where he taught singing for many years before his death in 1951.

[optimarcus]

[Movie Review] 'Alone (Seuls)' is a mad mess of a French film

[Movie Review] 'Alone (Seuls)' is a mad mess of a French film | #Seuls

Alone (Shaw Organisation)

Should you watch this if it’s free? Okay.

Should you watch this at weekday movie ticket prices? No.

Score: 2.0/5

Secret ending? No.

Running time: 98 minutes (~1.75 hours)

“Seuls” is a French young adult science fiction thriller based on the comic of the same name.

It follows the adventures of five children who find themselves trapped in a post-apocalyptic world. They…

[samsdei]

Thomas Doret