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Isabelle Huppert’s A Vision in “White”

Isabelle Huppert’s A Vision in “White” (photo)

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It seems strange that it’s taken this long for Claire Denis and Isabelle Huppert to work together on a film, but whatever the reason, it was worth the wait. Denis’s “White Material,” featuring the legendary actress as a white African farmer who insists on staying in her home even though her war-torn country is descending into madness and bloodshed, offers the director yet another opportunity to display her beguiling style, with its patented mix of intense physicality and ethereal stylization. And who better than the amazing Huppert, the thinking man’s goddess of the arthouse corporeal, to help bring this vision to fruition? It’s a performance that relies more on movement and gesture than it does on dialogue and story. Huppert brings an intangible humanity to this character – despite the film’s elliptical style, we’re riveted by this woman’s onscreen ordeal. The result is one of the actress’s greatest parts – saying quite a bit, given that the résumé in question includes such films as “Madame Bovary,” “The Piano Teacher,” “Godard’s Passion,” and “Time of the Wolf.” I recently sat down with Huppert to talk about Denis’s unique way of working, and about the passing of her great friend and collaborator Claude Chabrol.

What went through your mind when Claire Denis first approached you to do this film?

She didn’t really approach me. We’ve known each other for many, many years, and she’s a friend – she was an assistant on a film [“Return to the Beloved”] I did years ago. I consider her a part of my artistic family. I had read Doris Lessing’s first book “The Grass is Singing,” which she wrote when she was 27 years old, and I was interested in doing that as a film. Claire and I were seeing each other regularly and I asked her if she would be interested in doing it. She read the book, and she kept the idea of doing a film about a white woman in Africa, but she didn’t want to do the book itself. She thought the character was too much of a victim in the book. She wanted someone more contemporary, more active — a stronger woman. Then she had the idea of writing the script with Marie N’Diaye, a great French writer who is part Senegalese.

11182010_whitematerial3.jpgHow come the two of you hadn’t worked together before?

I don’t know. That’s a good question. She did other movies, I did other movies. But for “White Material,” I was a perfect go-between for Claire and her native land – I mean, she was not born in Africa, but she was raised in Africa. She knows how to speak about being a woman and being blonde in Africa – the fairness of the character, physically, really is what this film is about on some level. It’s about her color.

That brings up something I’m curious about. Your performances tend to be incredibly physical. Some actors will actually study and plan the way their characters will move well before they start filming. Is this something you prepare? Is it even conscious on your part?

No, it’s never conscious. But in this film, it was essential. I mean, that’s all it’s about. Even when [my character is] in tears at the end of the film, she doesn’t say, “I’m despairing,” or whatever. She just says, “I’m tired.” The film casts aside any psychology or strategy or complexity. She’s defined by her physical capacity to face these events. What’s interesting about it is that she’s fragile from the outside – others see her as being weak, and in some ways even the camera does. She’s like a twig. But when you come in closer to her, she’s very strong. In fact, Claire spoke of the character as almost a bionic woman – which was, of course, an exaggeration, but it gave me a real good idea of what to expect from her. She is, in fact, very physical, very daring – almost like a man. I had to learn to ride a motorcycle for this part. These extremes, between fragility and strength, I like that aspect of this character very much.

11182010_IsabelleHuppertWhiteMaterial2.jpgBut one could say the same thing about a lot of characters you’ve played.

Yeah, you’re right. It’s true of almost all of the characters I’ve done. But here it’s a bit different because of the cinematic way Claire has of showing it – because of the landscape and the nature around her. She has these roots, and she wants to stick to these roots. But Claire casts a different light on these mechanisms. She has a very different take on post-colonialism. For this character, it winds up being about identity and not possessions. In the end, you talk about being but not having, and that’s the main difference. That’s what’s really original in this movie.

Does that different take on the subject carry over to the actual way Claire works? How would you describe her as a director?

The way she works is the way she lives. Working with Claire, you have to be really available – you have to let yourself go into her rhythm. She’s very creative. She’s like a painter. She gives me the feeling that she has a vision and you have to be the witness to that vision. You don’t want to ask her too direct questions – “Why do you do this?” “What do you have in mind?” — these things I would never ask her. You just have to trust her and follow her. She’s very strong. She has a perfect sense of what she does. It’s not that she’s slow. You can feel that she’s elaborating something in her mind – sometimes she knows about it, sometimes she doesn’t. But working with a great director means to fit into their rhythm. From the very beginning, everybody has their own rhythm.

11182010_IsabelleHuppertWhiteMaterial6.jpgHow so? Describe her “rhythm.”

For example, we spent a lot of time going over costumes. It took us a lot of time before we got to that yellow dress with red sandals in the beginning, and the boots and the little shirt. You would not think when you see this character that so much time was spent on how she looked. All of that was not like this [snaps her fingers]. It was all thought out over a long time. I think the best way to describe it is that Claire is looking for simplicity, but she understands that it can take a lot of time and hard work and thinking to get to something that is simple. So, she tries a lot of things, but you never feel lost, as long as you trust her, because you know that she will find what she is looking for.

I want to ask about another iconic director that you worked with – the great Claude Chabrol, with whom you made a number of movies over a lengthy period of time, and who just recently passed away. I feel in some ways that your career and your performances changed when you did “Violette,” your first film with him. Among other things, people began to see you in a different light.

I was not so aware of how I was perceived at the time, but “Violette” was very important for me and my career. In fact, I remember I shared the Best Actress award at Cannes with Jill Clayburgh, who also recently passed away. That was a special moment. But Claude Chabrol loved the idea of me making a statement in a way with my acting. He wanted to really film me just the way I was, without asking me to be otherwise or different. That’s the best gift you can get from a director – he says, “Just be who you are.” That was the difference with him, and maybe why things seemed to have been different after I worked with him. And he did that with me in so many different movies – sometimes they were costume movies, sometimes they were thrillers or comedies. He would say, “Just take it and do what you want.”

11182010_IsabelleHuppertWhiteMaterial5.jpgI also feel like his films changed after he started working with you, too, in a way. We think of Chabrol as a great director of women and a director very sensitive to stories about women. And while there was certainly some of that in his previous films, he really seemed to embrace that identity around the period he started working with you.

It might be because he did more intimate movies before – some of them were masterpieces, of course, like “Le Boucher,” “This Man Must Die,” and so on — and then he did more political or more social movies during this time. With me, he did a couple of films like “La Cérémonie” and “Story of Women” that had important social meaning. But he was very versatile, too. We also did lighter movies, like “Rien ne va plus” and “Merci Pour le Chocolat.” I think that when you were working with him, his versatility was reflected in your own versatility. You could just be yourself, but you could be yourself in all these different movies, doing different things.

“White Material” is now open in New York, become available on demand on November 24th and open in Los Angeles on November 26th.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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