Isabelle Huppert

Isabelle Huppert is a producing Actrice and French born the March 16th 1953, with Paris. Of its true name: Isabelle Anne Huppert .

Biography

Of middle-class family, her mother is English professor and set on piano and his/her father is leading of company, it passes his youth to City-in Avray. Three sisters and a brother supplement his family: Énarque Elisabeth, , then moved towards the writing and the realization; Caroline is director; Jacqueline teaches the economy; Remi is writer.

Isabelle Huppert starts by studying the Eastern languages with the faculty of Clichy, while following courses of dramatic art to the school of the street Blanche and the national Academy of dramatic art, where it is the pupil of Jean-Laurent Cochet and Antoine Vitez.

If it carries out its first appearances with the cinema as of 1972, at Nina Companeez, it is pointed out two years later thanks to young directors who mark the renewal of the cinema of French author after the experiment of the New wave, Bertrand Blier, in the Waltzers , and Bertrand Tavernier, in the Judge and the Assassin. These two films, each one in their kind, will mark the public and the critic and will make it possible the actress beginner to affirm a play all nuance some and in-depth, a singular partition which will distinguish it from other rising stars of the time, Miou-Miou and Isabelle Adjani.

In fact, Isabelle Huppert will build her career on demanding choices, not-consensual films and directors and will work out ranges of interpretations considered to be more cerebral and experimental that intuitive and authentic. These parties taken and great discretion (not to say " méfiance") it makes proof with respect to the Médias, will ensure to him a catalog of films prestigious, admired intellectual elites and quite far away from the headlines of the Tabloid press, but will put it regularly remotely popular votes and, in a sense, of those of part of the profession which regularly drew aside it from the prize list of the César, preferring to him large representing Star-stystem with the Frenchwoman (Catherine Deneuve and Isabelle Adjani inter alia). Its career takes truly to its take-off with the Lacemaker , of Switzerland Claude Goretta, which will be worth several international distinctions to him (BAFTA English and Italian Donatello, equivalents of the César). She holds the role of an introverted shampouineuse young person to with it, victim of a disappointment in love which makes rock its existence. This image victimaire and of morbid brittleness will continue it in several of its films of the beginnings, with the risk to lock up it in somewhat repetitive compositions (Wings of the dove , Benoît Jacquot, the Lady with the camellias , Mauro Bolognini). At the same time, she contradicts this draft by giving body to the character-title of Violette Nozière , in front of the camera of Claude Chabrol. It is its first “role-limit”, register in which she will affirm, with a frightening fidelity, all the extent of its talent, managing to make credible the madness without never pouring in hysteria. Violette Nozière echoes in that the Pianist (according to the novel of Elfriede Jelinek, Nobel Prize of Literature) of Michael Haneke, each one being worth to him a Prix of Interpretation to the Cannes festival (only French actress to have succeeded doubled).

The reading of its catalog of films also translates the permanence of two directions in its reports/ratios with creation: fidelity with directors and taste quite as assiduous for the experiment near initial authors. Thus it turns several times with Tavernier, Blier, Jean-Luc Godard, Benoît Jacquot, Werner Schroeter or Michael Haneke. But the complicity tied since 1978 with Claude Chabrol continues like a tension field where the dialog founded between the Master and the MUSE becomes almost the object even film, as it was the case with the Intoxication of the capacity in 2006, which is a fiction as much on a contemporary political scandal as documentary on the actress. Meanwhile, the duet will have explored a whole series of dramatic kinds, comedy ( Nothing goes more , at the sides of Michel Serrault) with the social drama ( the Ceremony with Sandrine Bonnaire, Jean-Pierre Cassel, Jacqueline Bisset and Virginia Ledoyen) or history ( a business of women ), while passing by black film ( Merci for the chocolate , with Jacques Dutronc) and the literary adaptation ( Mrs Bovary) . It is besides with Chabrol that it owes obtaining sound alone and single César of the best actress in 1996, for its interpretation of postière child murder in the Ceremony . Astonishing and paradoxical fact insofar as Isabelle Huppert is the most named actress of all the History of the demonstration (thirteen nominations on the whole). But this relative injustice is largely compensated by a raid of prestigious international rewards, glanées with the European Awards like with the festivals of Venice, Berlin, Moscow, Thessalonique, Hamburg, San Sebastián, Taormine and Montreal.

In parallel, she works also regularly with the new generation of directors which appears with the beginning of the year 1990, such Christian Vincent, Laurence Ferreira Barbosa, Patricia Mazuy, François Ozon, Olivier Dahan, more recently still, the Belgian Joachim Lafosse. As it did it with Maurice Pialat in Loulou at the side of Gerard Depardieu, or directed by Schroeter ( Malina , Two ) and Haneke ( the Pianist , the Time of the wolf ), it does not hesitate to double the risks while agreeing to hold the title role of My mother , filmed by the young writer Christophe Honore.

If its proximity with Daniel Toscan of Plantier, of which it was the partner, enabled him in years 1980 to connect a series of films with the Gaumont which officialized its career with the eyes of the general public, it up to now seldom met only great popular successes. She gets busy nevertheless to maintain the contact with the comedy in films who find their public, like Sac of nodes , of Josiane Balasko, Love at first sight and After the love , of Diane Kurys, 8 women , of François Ozon, the angry Sisters of Alexandra Leclère. In each one of its comic incursions, this one takes malignant to put in scene its image, to play of the label of antipathetic woman, frustrated and turned sour that it carries for a long time, with the risk despite everything a confusion more than of a distance in the spirit of the spectator, through insistence and of repetitivity in the dramatic spring of its characters. But it knows, as with accustomed, to avoid uniform and rigid interpretation, subjecting each one of its compositions to a singular coloring. Its insatiable will to pass by various pallets of emotions is palpable. The evolution is done of a repertory of expressions, mimicry, varied and contrary intonations: of an outrageous demonstration, theatrical, thundering (the hysterical and hypochondriac Aunt Augustine of the 8 women where it is devoted to one époustouflant number of transformation, at the same time physical and scenic) with a more detached expressive form, hidden and interior as in angry Sisters , where it camps a middle-class woman forsaken by her husband François Berléand, unhappy, ice-cold and envieuse of the success of his/her sister, provincial wrongfully naive played by Catherine Frot. Its claim to fame remains however to be chosen by some great names of the international cinema, such Otto Preminger ( Rosebud ), Joseph Losey ( the Trout ), Michael Cimino ( the Door of the paradise ), Marta Meszaros ( the Heiresses ), Jean-Luc Godard ( Sauve which can (life) , Passion ), the brothers Taviani ( Elective affinitieses ), David O. Russell ( Iadore Huckabees ). Even if the failure of the Door of the paradise , where it is the French prostitute divided between Kris Kristofferson and Christopher Walken, made him râté the walk of large star world, it nevertheless reached a single stature in the contemporary French cinema, of monster not crowned, i.e. at the same time unanimously respected by its pars, while getting busy to scramble this too smooth image through extreme choices, of an asserted elitism, as well with the cinema as with the theater ( 4.48 Psychosis , of Sarah Kane or Quartett of Heiner Müller). Its passion, it is the play in all its forms, to which she devotes herself with intensity and curiosity (more than seventy films and telefilms with its credit). It is also the subject of In America , the film of Jerzy Skolimowski adapted novel of his/her friend Susan Sontag (in pouparlers since six years) for whom it fights and that it will produce with the company that it founded at the sides of her husband, the director Ronald Chammah (Films of the Camellia). Company which allowed him to produce certain films of which it holds the top of the poster ( the Modern life of Laurence Ferreira-Barbosa, the Comedy of innocence of Raoul Ruiz, My mother of Christophe Honore) and to even buy the rights of Wanda of Barbara Loden, actress and scenario writer which was one of the wives of Elia Kazan, missing prematurely from a cancer in 1980. Thanks to its eagerness, this single film of an artist of exception could arise in rooms in 2003.

In 2005, an exposure, “the Woman with the portraits”, shown initially with New York, then with Paris (prolonged until February 2006 with the Couvent of Cordelières) and in Europe, revealed its passion for the photography which pushed it, since about thirty years, to request portraits near the largest photographers (of Boubat and Cartier-Bresson with Hiroshi Sugimoto and Ange Leccia, while passing by Jacques Henri Lartigue, Richard Avedon, Robert Doisneau, Helmut Newton or Nan Goldin…). 2005, year ostentation for it since it triumphs with the theater in Hedda Gabler over Henrik Ibsen, put in scene by Eric Lacascade, receives a Special Lion of Interpretation to the Mostra of Venice for the whole of its career and is requested by the Moma with New York which devotes a broad retrospective to him, greeting its great contribution with the contemporary art in general and with the dramatic art in particular. For the event, it gives an exceptional representation of the part of Sarah Kane: 4.48 Psychosis , interpreted three years earlier, under the direction of Claude Régy, with the Puff out North. At the beginning 2006, it is with the tower of the French Cinémathèque, coldly réouverte with Bercy, to put it at the honor. Occasion which enabled him to go to the meeting spectators, offering a broad choice of projections, discussions (in particular with its pygmalion Claude Chabrol) and public readings of authors such as Maurice Blanchot and Francoise Sagan.

Isabelle Huppert has three children, Lolita born in 1983 (which started in its turn a career of actress), Lorenzo 1988 enthusiastic to support PSG (also actor) and Angelo in 1997 which it had with the scenario writer and producing Ronald Chammah which directed it in black Milan in 1988.

Catalog of films

Actress

Years 1972 to 1979

Years 1980 to 1989

Years 1990 to 1999

Years 2000 and following

Producing

Through its company Films of the Camellia:

Nominations and rewards

  • Festival of Venice

    • 1988: Volpi Cut for the best female role for a business of women
    • 1995: Volpi Cut for the best female role for the Ceremony
    • 2005: Special gold lion of interpretation, for Gabrielle

  • Festival of Berlin

    • 2005: Money bear for the whole of the actresses of 8 women

  • Stars of gold of the press of the French cinema

  • Lola of the German cinema

    • 1991: Better actress, for Malina

  • Rewards with the festivals of Thessalonique (2004), Hamburg (2003), San Sebastian (2003), Taormina (2002)…

Theater

Music

In 2001, it records a disc in homage to Mrs Deshoulières in company of Jean-Louis Murat.

She also sings on the original soundtracks of Signé Charlotte of Caroline Huppert, Coup of cloth of Bertrand Tavernier, the promised Life of Olivier Dahan, of 8 Women of François Ozon and the angry Sœurs of Alexandra Leclère.

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