Built on a bend of the river Marne in the early 18th century, the Château de Champs-sur-Marne is the archetypal leisure mansion. Owned in turn by the Princess of Conti, the Duke of La Vallière and the Marquise de Pompadour, the Château de Champs played host to some famous guests, including Diderot, d’Alembert and even Voltaire.
In the 19th century, Louis Cahen of Antwerp restored it to the splendour it possessed before the Revolution; he restored the Château in the spirit of the Age of Enlightenment and filled it with exceptional furniture crafted by the leading names in French cabinet-making. His guests included Marcel Proust, Isadora Duncan and the King of Spain Alfonso XIII… The Estate became the property of the State in 1935, then the presidential residence from 1959 to 1974 and welcomed France’s most prestigious guests.
Champs and the cinema
The Château de Champs-sur-Marne boasts some exceptional pieces of furniture and interior decoration reflecting its illustrious past. The grounds, awarded the ‘Remarkable gardens of France’ label, are in a leafy setting of 85 hectares of parkland, where the French-style garden ornaments cohabit harmoniously with the meadows and mature trees of an English-style park.
This remarkable setting has been the inspiration for set designers and film directors for many years. The estate has thus provided the set for more than 80 long and short feature films, and has played host to some famous French and international actors, such as John Malkovich and Glenn Close in ‘Liaisons Dangereuses’ by Stephen Frears (1986), Kirsten Dunst in Sofia Coppola’s ‘Marie-Antoinette’ (2006), or Gérard Depardieu in Roland Joffé’s ‘Vatel’ (1999)…
A woman kicked up her feet, left a car, started to dance, and I was charmed. La La Land is a story about a romance between an aspiring actress and a devoted jazz bro. Oh, and it’s a musical built on the legacy of mid-century French and Hollywood movie musicals. It’s reference-laden, beautiful, at times subversive and smart, but at others hollow, and I am utterly charmed.
Through some convenient circumstances, Mia (Emma Stone) and Sebastian (Ryan Gosling) keep running into each other and start dating around LA after a “this is romantic, but not for us because I totally definitely certainly don’t like you” song.
The cinematography is beautiful, LA looks amazing and timeless. Technology is present and a reminder that we’re in the 21st Century. The music is also beautiful and slightly failed by the lyrics and the fact that Ryan Gosling is not a singer. (Emma Stone’s singing disappoints me at times as well, but she redeems herself enough to get me past asking why it wasn’t Anna Kendrick.)
However, my vocal complaints are more than made-up for by the fact that Gosling and Stone are wonderful, hilarious and multi-faceted actors. Gosling gives Sebastian great idiosyncracies and their relationship feels utterly real. The costumes are perfect, the choreography is great, but what makes this movie most special is the ending. It’s not the end you think is coming, nor is it necessarily the ending American movies do, but it’s so special.
Damien Chazelle writes love letters to jazz starring white people, and that’s problematic, and it should be mentioned in the hopes he stops doing that. It’s Oscar season and there are many great movies in theaters, and many more original stories of people often underserved by the Hollywood movie finance machine, but Ryan Gosling tap dances and leans against a lamp-post.
Look all I want is a movie based in some old-fashioned 20th century French village where Michelle Benoit shows up with her 6-year-old grand daughter and pisses off every single conservative old French man in a 20 mile by not going to church and eating whatever the hell she wants on fasting days
I think all nominees deserved to win but I wished it was Kubo or My Life as a Zucchini or the Red Turtle because smaller animation studios/independant animators work really hard and it wd be nice for them to get some bigger recognition ! Which I think awards ceremonies are also for
only one of those movies was on my watchlist and it was the red turtle but youre totally right independent animators shouldnt be nominated only as category fillers if they never win over pixar big studio monopoly on feature length animation promo n advertising also prevents independent animated feature lengths from coming into peoples lives and big studio feature lengths are so often jus unnecessarily like filled to the brim with celebrities :/ still i think moana was just bigger though than a statement on corruption in the animation industry just bc the academy milked frozen with like no damn mercy for idina menzels vocal chords and a real life gorgeously constructed brown princess from a non 16th century french culture in a movie advertised to so many young girls that are definitely going to see it and be influenced by it is groundbreaking in some aspects that the others arent also like…when they were announcing the animated short like i kNEW it was going to be piper but like. it should not have been piper made me cry but it should not have been piper like this year it would have been good to give that award to like. not piper and then feature length to moana i think thats a solid compromise