L'école buissonnière ≡Kanopy≡

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Country France. Runtime 1hours 56 Min. review Paris 1930. Paul always had only one and the same horizon: the high walls of the orphanage, a severe building on the outskirts of Paris. Entrusted to a cheerful lady of the countryside, Celestine and her husband, Borel, the somewhat rigid gamekeeper of a vast estate in Sologne, the child of the cities, recalcitrant and stubborn, arrives in a mysterious and worrying world, that of a sovereign and wild region. The immense forest, the misty ponds, the moors and the fields, everything here belongs to the Count of the Comte de La Salle. Fresnaye, a taciturn widower who lives alone in his mansion. The Count tolerates poachers on the estate, but Borel is relentlessly hunting them down and hounding the most cunning and elusive of them, Totoche. In the heart of the fairytale Sologne, next to the poacher, a great nature lover, Paul will learn about life but also the forest and its secrets. An even heavier secret weighs on the estate, because Paul did not come here by chance. directed by Nicolas Vanier. Comedy. year 2017.
La escuela de la vida pelicula critica. La escuela de la vida film. Nicolas Vanier’s family adventure starring Francois Cluzet celebrates the rustic charm of the French countryside between the wars. Unabashedly old-fashioned, Nicolas Vanier’s heartfelt period feature School of Life fondly references a gentler time, before World War II reshaped the landscape of Europe and the trajectory of French society. Similar to Vanier’s 2013 Alps-set Belle & Sebastian, his latest pic warmly celebrates the invigorating virtues of the French countryside, this time centered on the Loire Valley. This assuredly crafted exploration of the intricacies of early 20th-century social stratification, which was released in France in October, soars on the strengths of sympathetic scripting and striking wildlands cinematography, although it’s likely to reach wider audiences only via film festivals and specialized streaming services. In the aftermath of Europe’s Great War, thousands of children lost their parents, including Paul (Jean Scandel), relegated to a bleak Paris orphanage after the death of his father at the front, his mother having died in childbirth. Unexpectedly, he’s plucked from his cheerless lodgings by Mme. Celestine Borel (Valerie Karsenti), who says she’s a distant relative taking him to live with her over the summer (notably without any assurances about adopting him). Vanier achieves this swift synopsis even before the opening credits roll over scenes of a steam engine powering across the countryside south of Paris to arrive in the Sologne region of the Loire Valley, in the vicinity of Orleans. Plunked down in the farmhouse that Celestine shares with her gruff husband,?Borel (Eric Elmosnino), a gamekeeper on the sprawling estate owned and overseen by the Count de la Fresnaye (Francois Berleand), Paul finds himself entirely confounded by the peculiarities of country life. Although he’s eager to learn more about the relationship between Celestine and his deceased parents, Paul avoids the widowed Count’s manor where Celestine works as a domestic. On his wanderings around the property, though, he soon encounters the enigmatic hunter and fisherman Totoche (Francois Cluzet), a true man of the land. Nowadays, adults might tell a kid like Paul, “Don’t go near that hobo or his broken-down boat, ” referring to Totoche’s rustic riverside lodgings. Technically a poacher, Totoche shamelessly helps himself to the bounty of the Count’s estate, although the property owner sympathetically turns a blind eye. Borel considers his rival the equivalent of a frontier outlaw, however, and swears to bring him to justice. Ever observant, Paul notices a peculiar connection between Totoche and Celestine, using his discovery to persuade a reluctant?Totoche to apprentice him in the poaching trade and incidentally reveal some clues behind the mystery of his parentage. This relationship between the poacher and the domestic similarly plays a central role in Jean Renoir’s 1939 classic The Rules of the Game, not coincidentally set and shot in the Sologne. And while School of Life hardly sets out to satirize the Paris smart set of the 1930s, Vanier and co-screenwriter Jerome Tonnerre (who also wrote Renoir, a biopic on the French filmmaker) express concerns regarding the period’s distinct social divide quite similar to Renoir’s own. In Vanier’s version, it’s the tension between Totoche and the Count, who in their love of the land are perhaps more alike than either might admit, that helps anchor the film. His familiar features and twinkling eyes obscured behind a bushy beard, Cluzet ( Intouchables) plays Totoche with verve and a sincere specificity of character that nods to the great tradition of French humanist cinema. Berleand ( Entre amis), ensconced in the Count’s manor house, doesn’t exert a similar degree of influence over the cast, although he turns out to be a key player in Paul’s emergence from childhood. Young Scandel, in his first feature role, confidently grasps the boy’s struggle to adjust to an unfamiliar environment, while enthusiastically embodying his affinity for the outdoors. Unlike Belle & Sebastian, which was adapted from a popular TV series, with School of Life, Vanier succeeds in crafting an admirably original film that unaffectedly draws upon his boyhood growing up in the Sologne, as well as his numerous nature documentaries and adventure narratives exploring the relationships between humans and wild places. Gorgeous woodland scenery and spectacular wildlife photography cast a magical spell under Vanier’s skillful direction, capably supported by Belle & Sebastian cinematographer Eric Guichard and an ace team of animal wranglers. Production companies: Radar Films, France 2 Cinema, StudioCanal Distributor: StudioCanal Cast: Francois Cluzet, Jean Scandel, Eric Elmosnino, Francois Berleand, Valerie Karsenti Director: Nicolas Vanier Screenwriters: Jerome Tonnerre, Nicolas Vanier Producers: Clement Miserez, Matthieu Warter Director of photography: Eric Guichard Costume designer: Adelaide Gosselin Editor: Raphaelle Urtin Music: Armand Amar Venue:?COLCOA French Film Festival 116 minutes.
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La escuela de la vida pelicula. L’École buissonnière (The School of Life) | Movie review Wildlife and the pristine forests of Sologne are at the forefront of French Senegal-born writer/director/adventurer Nicolas Vanier’s ambitious comedy-drama L’École buissonnière (The School of Life). Vanier grew up on a family farm in Sologne, and through his film he shares his fondness of the surrounding countryside. It’s Paris in 1927 and there is a surplus of war orphans. Célestine (Valérie Karsenti) agrees to take troubled youth Paul (Jean Scandel) back home to Sologne after she sees how badly he is treated in the orphanage he calls a “prison”. Once Paul is free to explore in the forest he learns how to fish and trap animals, which ties to the movie’s death and family themes. He meets Count de la Fresnaye (François Berléand) who takes a liking to him. The casting, provided by Sylvie Brocheré and Gwendale Schmitz, is spot-on, especially Scandel as Paul and Totoche, who is scruffily portrayed by the charismatic François Cluzet. Perhaps the true stars are the animals ? stags, deer, herons, hunting dogs, rabbits, boars, pheasants, fish and so on. It’s truly remarkable to witness the sheer number and variety of animals that Vanier filmed in many different settings. The camera spotlights them in such a graceful and fluid way. The wildlife, the flowing streams and the sun-drenched greenery give some scenes the feel of a well-crafted nature documentary. The upward crane shots capture with ease the vastness of the Count’s property as Paul is arriving by train and later as he is about to take his first solo walk in the woods. The camera movements are smooth as they travel with and around the actors within each scene, with the edits feeling altogether authentic. Various animal sounds make up the better part of the soundtrack, although delicate piano melodies and slow trumpeting are also quite affecting. It’s only when the score sporadically reaches grandiose heights that it feels a bit too much. The English subtitles are at times a little off, and not simply the oddities one might expect from the early French 20 th century. Even though the ending may be a tad predictable, Vanier still makes the journey quite relaxing and enjoyable. The nature footage at the start of the closing credits is a nice touch. Cinematographer Éric Guichard effectively highlights the luscious foliage and vast hunting grounds that make the picturesque Sologne region of north-central France so striking, to the point where many nature lovers will be flocking there. Lindsay Bellinger L’ É cole buissonnière (The School of Life) is released in cinemas on 3 rd November 2017. Watch the trailer for L’ É cole buissonnière (The School of Life) here:.

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