Milos Forman, Catherine Deneuve and Chiara Mastroianni in BELOVED, a film by Christophe Honore. Picture courtesy IFC Films. All rights reserved.


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Beloved (2011/2012)

Also Known As: Les Bien-Aimes

Opened: 08/17/2012 Limited

Lincoln Plaza08/17/2012 - 09/20/201235 days
IFC Center08/17/2012 - 08/30/201214 days
The Nuart08/17/2012 - 08/23/20127 days
Music Hall 308/24/2012 - 08/30/20127 days
Music Box Thea...09/14/2012 - 09/20/20127 days
Kendall Square...09/14/2012 - 09/20/20127 days

Trailer: Click for trailer

Websites: Home

Genre: French Romantic Drama (French w/English subtitles)

Rated: Unrated


Starring Catherine Deneuve and (her real-life daughter) Chiara Mastroianni, this sly and exquisitely romantic musical drama from Christophe Honore (LOVE SONGS, DANS PARIS) spans over three decades as it follows a mother and daughter's misadventures in love. In the '60s, Madeleine (Ludivine Sagnier) leaves Paris to re-join her Czech husband Jaromil (Rasha Bukvic) in Prague, but his infidelities and the arrival of Russian tanks in the city lead her back to France. Thirty years later we follow the romance of Madeleine's daughter, Vera, who falls in love with a musician (Paul Scneider) in London who is incapable of devoting himself to her. Meanwhile in Paris, a re-married Madeleine (Deneuve) has rekindled her love affair with Jaromil (Milos Forman). Louis Garrel and Paul Schneider also star in this light-hearted but ultimately moving exploration of the changing nature of relationships, with music by Alex Beaupain (LOVE SONGS).

Director's Statement

There are two love stories being told in BELOVED; two generations, a mother and a daughter, both unable to contemplate a life of loneliness. The first story reads like a legend. It begins during the inarguable Golden Age of love: the 60's, with the sexual revolution and women's liberation movement. Followed by the second story; the 90's, a life feared of commitment and the AIDS virus.

I belong to the second story. I belong to the generation that discovered love in the time of AIDS, a time when precaution was proclaimed a dogma and when death was a shadow that hung over all our moments of abandonment. I pictured a glorious era, an illusion no doubt, in which the people you fell in love with, the people you desired, had not yet become threats to you. For a long time I believed that only my parents had known true love, while I could only love halfway, crippled by mistrust and terror. But in the end, I decided my love stories were surely as valid as theirs. The impossibility of loving carelessly in no way diminished our attachment or passion... even if that passion was to adapt in uncommon forms. With BELOVED, I would like to examine 'that magical search for happiness that no one can escape'.

In my first feature-length film, I built a sequence around one song, Lola by Jacques Demy. It was a complimentary sequence, inessential to the plot. It was my own self-indulgence as a movie fan, something that allowed me to pay tribute to Jacques Demy, the filmmaker I have to thank for introducing me to cinema. I have since then filmed LOVE SONGS, in which I tried to find my own way of articulating a fiction around a series of songs. I love the spirit of musical comedies: No one ever whines or complains. There is always the possibility that a lyrical moment will come to redeem an every day tragedy.

Four years have passed and I have found an urge to apply a musical form to an emotional rich canvas again. It is a story that takes place over half a century ago. Again, I want to dabble in light-handed lyricism, as I follow these characters that are immune to nostalgia, draw their energy from actions and live for the moment. Their songs will offer them moments of reflection, places of refuge where they can live their intense, fleeting emotions to the fullest, without being denied their on-going search for untrammelled weightlessness.

I am leery of historical reconstructions and would therefore rather race through the last half of the Century: hence the terse, rapid writing of the screenplay. Whether in terms of lighting or of direction, I want all the sequences to bathe in the charm of a 'vibrant and beautiful present'. It is not my intention to mesh each individual trajectory with History, nor to recreate an Era that, when all is said and done, is so close and yet already so far away. What I propose is a search for lost time, a crystallisation of multiple moments. And while I do admit that this is more the approach of a novelist than of a screenwriter, I firmly believe that cinema has the power to transmute all those disparate elements into one single fiction, carried forward in a momentum of joy.

-- Christophe Honore, Director