Arnaud Desplechin: Last News

In Arnaud Desplechin’s “Deception” (“Tromperie”), one character’s husband is described as “passionate about dazzling, interesting women.” In this adaptation of Philip Roth’s novel of the same name, one can’t help but wish the director shared the character’s interest. Instead, Desplechin and his film seem to have a perverse and single-minded fixation not on “dazzling, interesting” women, but lost, tragic ones—women who can gravitate toward and glom onto Philip (Denis Podalydès), an inexplicably francophone version of the author, who lavishes the attention.

Lea Seydoux won’t be in Cannes this year after testing positive for Covid-19 back on Saturday. The star is staying in Paris to serve her self-isolation and to do her “part to keep everyone safe and healthy”. She was asymptomatic following the initial diagnosis and tested negative the day after, on Sunday, but French rules mandate 10 days of self-isolation after a positive result.

Arnaud Desplechin returns to the Cannes Film Festival with Deception (Tromperie), a self-indulgent Philip Roth adaptation that’s only marginally better than 2017’s derided Ismael’s Ghosts. One of the late Roth’s most openly personal novels, it details a string of affairs conducted by Jewish-American writer “Philip,” here played by French actor Denis Podalydes, speaking French.

A Christmas Tale from 2008 and loved his mysterious fantasy Kings and Queen (2004) and intriguing Edward Bond adaptation Playing “In the Company of Men” from the year before that. Desplechin has been a Cannes favourite for so long that it’s almost impossible to imagine the festival without one of his dreamy-jaunty jeux d’ésprit on the menu.

As we’ve noted in the last two weeks of this ongoing Cannes Film Festival, Léa Seydoux is the belle of the ball, and she has four films playing at Cannes, three of them in competition. The French actress has a leading role in “The Story Of My Wife,” a smaller role in Wes Anderson‘s “The French Dispatch,” the lead part in Arnaud Desplechin’s steamy Philip Roth adaptation “Deception” (playing outside competition), and then lastly, the film you’re here for, Bruno Dumont’s “France.” The Cannes Film Fest website doesn’t have much to say about the film, “France is all at once the portrayal of an anchorwoman, of a country, and of the media,” is all it has for a logline, but there’s more from the past.

COVID-19, putting her appearance at the Cannes Film Festival in doubt.The No Time to Die actress is due to appear in four films at the festival, which is already underway, including Wes Anderson’s The French Dispatch and Arnaud Desplechin’s Deception.Seydoux is double vaccinated and asymptomatic, though organisers have put strict measures in place during the in-person festival.The news comes as Cannes has reported an average of three COVID-19 cases per day, though general secretary Francois Desrousseaux has denied rumours of a “cluster”.“Out of several thousand people getting testing here on a daily basis, there are an average of three cases per day,” he said.Guests who aren’t double vaccinated or are travelling from abroad, including the

EXCLUSIVE: Léa Seydoux’s trip to Cannes is in doubt following a positive Covid test, Deadline has confirmed. A representative for the actress, who has four films in this year’s Cannes selection, says Seydoux is at the tail end of her recovery, and is asymptomatic and fully vaccinated, but she will remain at home in Paris out of an abundance of caution, following her doctors’ advice. She was originally due to arrive at the festival yesterday, but did not travel.

Many of us have been itching to dip our toes into the water of real life ever since the vaccine rollout hinted at an end to the pandemic lockdown. For Léa Seydoux, the next 11 days will be a plunge: with four films in Cannes’ Official Selection, three of them in Competition, her festival itinerary will be relentless. Bouncing between premieres and press, she will be reunited with directors Wes Anderson and Arnaud Desplechin, with whom she’s worked before, for The French Dispatch and Deception, respectively. France marks her first collaboration with Bruno Dumont, while Ildikó Enyedi directs Seydoux in The Story of My Wife.

Whoever “wins” the Cannes Film Festival this year, French actress Léa Seydoux will certainly be up there regardless if she takes home any awards or not. The actress has three films at Cannes, Bruno Dumont‘s “France” in competition, ldiko Enyedi‘s “The Story Of My Wife” also in competition, and Arnaud Desplechin‘s latest Cannes premiere, “Deception,” based on a story by the great Philip Roth (let’s not forget, she’s one of two actresses ever to win the Palme d’Or for “Blue Is The Warmest Color,” so everything is always upside for her).

In terms of French cinema, you can’t get much better than filmmaker Arnaud Desplechin. The man behind features such as “The Sentinel,” “My Golden Days,” and “Ismael’s Ghosts” consistently brings something new to each film, often switching genres between films.

It’s becoming so commonplace that we learn about filmmakers creating secret projects during pandemic lockdown that we may have to create a new subgenre for these pictures. Ben Wheatley, Neill Blomkamp, and others have all taken the pandemic as an opportunity to work on projects previously unscheduled.