Louis Garrel biography
Louis Garrel is the son of director Philippe Garrel and actress Brigitte Sy. His grandfather, Maurice Garrel, and his godfather, Jean-Pierre Léaud, are also notable French actors. He is best known for his starring role in The Dreamers, directed by Bernardo Bertolucci. He regularly appears in films by French director Christophe Honoré, including Ma mère, Dans Paris, Les Chansons d’amour, La Belle Personne and Non ma fille, tu n’iras pas danser.
Louis Garrel Age
Louis Garrel was born 14 June 1983, he is a French actor and filmmaker. He is a graduate of the Conservatoire de Paris.
Louis Garrel Children
Louis Garrel Girlfriend – Louis Garrel wife
In June 2017, Garrel married model and actress Laetitia Casta. The couple have been together since 2015.
One of the most beautiful models of modernity, Laetitia Casta, yesterday married French actor Louis Garrel. The wedding ceremony was private, so the general public learned about the event only three days later, although the most agile paparazzi still managed to take a few pictures.
Celebrities thew a wedding in Corsica – the homeland of the groom. However, even Laetitia herself spent her childhood here, so the place became a symbolic choice for the newlyweds. The marriage ceremony took place on the beach at Lumio, the hometown of the bride’s father. Among the guests were relatives and friends of Casta and Garrel, including three Laeitia’s children – 15-year-old Sahteene (from relations with photographer Stephane Sednaoui), 10-year-old Orlando and 7-year-old Athena, whose father is the Italian actor Stefano Accorsi.
The marriage concluded on June 10, became the first for both Garrel and for Casta, while the groom also has a child from civil relations. The actor lived about five years with actress Valeria Bruni Tedeschi (sister of Carla Bruni). Interestingly, both the previous girlfriend of Louis Garrel, and the current wife are older than him: Valeria Bruni is 17 years older, Laetitia Casta – is 5 years older.
Recall that the novel of Garrel and Casta became known in May 2015, when the couple was spotted together on the streets of Paris.
Photographers managed to shoot a couple and guests during the wedding party and, according to eyewitnesses, the newlyweds and their friends had fun until the morning.
Before meeting Louis, Laetitia was engaged to Italian actor Stefano Accorsi, from whom she gave birth to son Orlando and daughter Athena, and after him the model had an affair with French photographer Stephane Sednaoui and gave birth to daughter Sahteene. Louis Garrel has a five-year romance with Valeria Bruni-Tedeschi under his belt, The couple raised an adopted girl from Senegal, Celine.
The French model and her husband celebrated an important event in their life with the three children of Laetitia and other guests on the Lumio beach, where everyone arrived by boat at sunset.
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Louis Garrel films
Garrel was six when he first appeared onscreen, in the film Le baisers de secours. Twelve years later, he appeared in his second film, Ceci est mon corps.
In 2002, Garrel gained international recognition playing Eva Green’s twin brother in The Dreamers. Director Bernardo Bertolucci found him on the first session of casting in Paris. Garrel has since starred in various French films, including Les Amants réguliers (2005), directed by his father Philippe Garrel. He was awarded the César Award for Most Promising Actor for his work in the film.
The youngest Garrel has been exploring his talents: he showcased his singing ability in the Christophe Honoré-directed film Les Chansons d’amour. In 2008, Garrel wrote and directed a short film, Mes copains (My buddies).
2011 The Beloved
2011 La Règle de trois
2011 A Burning Hot Summer
2012 Les coquillettes
2013 A Castle in Italy
2014 Saint Laurent
2015 In the Shadow of Women
2015 Mon roi
2015 Two Friends
2016 From the Land of the Moon
2017 False Confessions
2017 Ismael’s Ghosts
2018 Un peuple et son roi
Louis Garrel awards
2009: Prix Patrick Dewaere
Louis Garrel news
Louis Garrel Makes a Great Jean-Luc Godard in the Otherwise Facile “Godard Mon Amour”
Michel Hazanavicius’s exploration of Jean-Luc Godard’s immersion in radical politics is constructed as a giddy homage to Godardian affectation. That’s no surprise: He’d recreated candy-colored spy spoofs in two OSS 117 films and won an Oscar for The Artist, that maudlin reimagining of silent comedies and Hollywood mythmaking. In this affectionate dissection, Hazanavicius undercuts a pompous Godard (Louis Garrel) with little bits of slapstick (repeatedly shattering his trademark eyeglasses) and grand ideological takedowns.
Garrel’s scathing, insightful, and prickly performance details the filmmaker’s midlife crisis, exacerbated by the civil unrest in 1968 France. Godard had married Anne Wiazemsky (Stacy Martin), star of his Maoist love letter La Chinoise, but when the revolution he long desired arrives, the leftist student activists of his young wife’s generation roundly reject him. Although writer-director Hazanavicius based the biopic on Wiazemsky’s memoir, Un An Après (One Year Later), Wiazemsky gets portrayed as a passive observer, a minor character in her own story.
Throughout Godard Mon Amour, the prolific Nouvelle Vague icon is lauded primarily for Breathless and Contempt, with no mention of the seven features he made with former wife Anna Karina. When Wiazemsky steps into those muse’s shoes, she learns to walk a fine line between inspiration and compliance, a relationship more intricate than Hazanavicius’s facile analogy of a long submarine journey (from blissful isolation to suffocating reliance).
Hazanavicius spends more time gazing at Martin’s nubile form than revealing how an adoring, dependent nineteen-year-old — who married an acclaimed, confident artist, then found herself with a petty, insecure man — struggled to establish her own identity. His immersion in Godard’s mind-set results in the erasure of Wiazemsky’s experience.
‘Godard Mon Amour,’ from the Oscar-winning director of ‘The Artist,’ is visually bold but shallow
Michel Hazanavicius won the Oscar in 2012 for “The Artist,” an old-timey black-and-white film set in the era of flickering silent films. His latest film, “Godard Mon Amour,” is another homage to cinema’s past, this time set in the aftermath of the French New Wave, when one of the movement’s godfathers, Jean-Luc Godard, is trying to free himself from the reputation he earned with such breakouts as “Breathless” and “Contempt,” and refashion himself as a political filmmaker of serious substance, as well as revolutionary style.
Set during the filming of 1967’s “La Chinoise,” which starred Anne Wiazemsky, “Godard Mon Amour” chronicles the love affair between the then-37-year-old director and his 19-year-old leading lady, played by Stacy Martin in a radiant performance. Filmed in bold primary colors with loads of playful Godardian flourishes, this larky, whisper-thin period piece is told through Wiazemsky’s eyes, as a young woman “lucky enough to admire the man I loved,” as she puts it.
It’s also a study in the male gaze: both Godard’s tyrannical, self-mythologizing stance, and Hazanavicius’s greedy eye for beautiful images, whether in the form of Martin embodying feminine eroticism and innocence, or a perfectly appointed house on the Riviera.
It’s at that house, during the Cannes film festival, that Godard — portrayed with spot-on temperament by Louis Garrel — is at his most cranky, criticizing Wiazemsky for getting a counterrevolutionary tan and succumbing to the shallow, bourgeois pleasures and politesse.
Determined to break the film medium open and create a new language rooted in the radical politics of the day, Godard is humorless, jealous and not a little ridiculous. A recurring motif of “Godard Mon Amour” is the image of his trademark eyeglasses being cracked and crushed — presumably along with his fragile, auteurist ego.
Filmed with bright, poppy joie de vivre, “Godard Mon Amour” is often splendid to look at. Between its accomplished lead players and gorgeous visual design, the movie embodies the very type of surface sheen and escapism that Godard himself inveighs against. Like Bob Dylan constantly being commanded to play the old stuff, Godard here is forced to hear praise for his New Wave films, only to destroy his fans’ illusions by declaring them dead and irrelevant.
Still, the glib, self-conscious brio never leads anywhere. Although Hazanavicius arguably set out to make “Godard Mon Amour” a portrait of a woman coming into her own, intellectually and artistically, he refuses to venture beyond mannered encounters and pronouncements to delve more deeply into the psychology behind the politics of gender, creativity, desire and personal growth.
Indeed, perhaps the most meaningful depiction of those complex dynamics can be found in “Faces Places,” last year’s documentary by Godard’s fellow New-Waver Agnes Varda, whose attempt in the film to contact her old friend Jean-Luc spoke volumes, with a few simple, devastating strokes. As it is, “Godard Mon Amour” is a diverting bagatelle that could have been tougher, a pastiche that could have probed deeper. Tant pis, as Godard himself might have said: Too bad.