In 2017 she said Harvey Weinstein once forcibly tried to kiss her in a hotel room in a meeting that was ostensibly about a potential role.
Leading up to this moment, Seydoux has experienced some of the worst sides of the movie business. theatrical distribution, citing it as Seydoux’s “finest performance to date." Sony Pictures Classics acquired the film Monday for U.S. But there’s an innocence and simplicity about her that gives me the same feeling when I film unknown actors.” She’s in films where she’s seen from the viewpoint of a masculine fantasy, and she enjoys that a lot, I think. “On the one hand, she’s a very glamorous figure in the landscape of cinema. “There’s a sadness and melancholy about her that contrasts with her status as a superstar that moves me,” adds the writer-director.
“She’s enigmatic in a way that very few actresses are. “She was maybe my favorite actress for this generation,” explains Hansen-Love. Hansen-Love, the “Bergman Island” filmmaker, wrote it with Seydoux in mind. “One Fine Morning,” a semi-autobiographical movie Hansen-Love wrote shortly before her own father died of COVID-19, throbs with the irreconcilable coexistence of grief and love, death and rebirth, and life's vexing impermanence. After reconnecting with an old friend, a passionate affair follows. In “One Fine Morning,” one of the standouts of Cannes, Seydoux plays a young widow raising a daughter in Paris while tending to her elderly father, whose memory is slipping.
“If I didn’t have cinema, I would have been very sad," she adds. It’s a real consolation because, in a way, I transformed my sadness into an object of beauty. “I carry a sadness,” Seydoux says, tracing it to a shy childhood. She's ubiquitous and elusive at the same time. Seydoux was so good that even James Bond wanted to settle down.īut it's especially clear at this year's Cannes that Hollywood was only one stop of many in the fast-evolving, exceptionally varied career of Seydoux, who has managed to be one of Europe's most famous faces while still exuding a mysterious melancholy on screen. The 36-year-old Seydoux has already made a major mark in Hollywood, most notably by taking the once stereotypical role of “Bond Girl” and stretching the character - a “Bond Woman” she redefined - across several films, adding a new dimension of depth to the franchise. On a recent afternoon a few blocks from Cannes' Palais des Festivals, Seydoux greeted a reporter cheerfully. But this year, Seydoux gives two of the best performance of her career in a pair of films unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crimes of the Future.” Together, they have only reinforced the view that Seydoux is the premier French actress of her generation. Last year, she had four films at the festival, but missed all of them because she tested positive for COVID-19.
The French actress has already shared in a Palme d’Or at the festival, in 2013 for “Blue Is the Warmest Color,” which made her and Adèle Exarchopoulos the first actors to ever win Cannes' top prize, which they shared with director Abdellatif Kechiche. © 2015-2022.CANNES, France (AP) - The Cannes Film Festival, yet again, belongs to Léa Seydoux. All models appearing on this website are over 18 y.o.
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