Following up the excellent first teaser for Jacques Audiard’s Rust & Bone, we’ve got a batch of new images from the drama which will likely be announced for the Cannes line-up this week. After appearing in Contagion and Midnight in Paris last year, this film will mark Marion Cotillard‘s return to foreign film as she joins Matthias Schoenaerts, last seen in the Oscar-nominated Bullhead.
Judging from the images below via Cinema Teaser, he looks to be in similar territory getting bruised and battered in some fights. Cotillard doesn’t look like she’ll fare well either looking at the above still and even worse if you’ve seen that teaser. As the director was behind the stunning A Prophet, I simply can’t wait for this one. See the rest of the images below, followed by an Antichrist-esque poster.
It starts in the north. Ali ends up with Sam, age 5, on the arms. His son, he barely knows. Homeless, penniless and friendless, Ali finds refuge with her sister in Antibes. There is much better that she’s hosting in the garage of his house, she takes care of the little and it’s nice. Following a fight in a nightclub, his fate crosses that of Stephanie. He brings her back to her and leaves her phone. He is poor and she is beautiful and confident. She is a princess. All the objects. Stephanie is a trainer of killer whales at Marineland. It will take the show turns into a nightmare for a phone call in the night’s meet again When Ali is found, the princess is packed in a wheelchair: she lost her legs and a lot of illusions. He will simply help, without compassion, without mercy. She will revive.
Rust & Bone is expected to premiere at Cannes and will hit US theaters later this year from Sony Pictures Classics.
BAMCinématek A new series entitled “Black & White ’Scope: American Cinema” commences this weekend, and, as for the series itself, with a Wilder double-bill on Friday: The Apartment and One, Two, Three. Manhattan screens on Saturday, while The Hustler can be seen this Sunday. Museum of the Moving Image The Gordon Willis tribute concludes with […]
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