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  1. Hace 2 días · "Nos enamoramos de 'Emilia Pérez'", dicen la cantante francesa Camille y su pareja, el compositor Clément Ducol, sobre el filme musical del director Jacques Audiard, la historia de un narco ...

  2. Hace 1 día · Cannes (Francia) (AFP) – Un capo narcotraficante mexicano quiere cambiar de vida y de sexo y para ello prepara su desaparición: esa es la apuesta sorprendente, y musical, de la película ...

  3. Hace 1 día · CANNES, Francia (AP) — En su bosquejo, la comentada película de Jacques Audiard en el Festival de Cine de Cannes, “Emilia Pérez”, no parecería una buena idea para un filme. Tras su estreno el sábado en Cannes, es probablemente la primera película que puede compararse sinceramente con “Sicario” y “Mrs. Doubtfire” (“Papá por siempre”), y eso es sólo el comienzo.

  4. Hace 2 días · And yet, he’s hit the jackpot. With the miraculous Emilia Perez, unveiled in competition at the 77th Cannes Film Festival, the French director (who previously won the Palme d’Or in 2015 for Dheepan [+ lee también: crítica tráiler Q&A: Jacques Audiard ficha de la película]) has found the right approach to a captivating work.

  5. Hace 4 días · Camille Saint-Saëns (born October 9, 1835, Paris, France—died December 16, 1921, Algiers [Algeria]) was a composer chiefly remembered for his symphonic poems—the first of that genre to be written by a Frenchman—and for his opera Samson et Dalila.Saint-Saëns was notable for his pioneering efforts on behalf of French music, and he was a gifted pianist and organist as well as a writer of ...

  6. Hace 2 días · Camille Bardou. May 19, 2024. 1 247 . Jean Epstein – Le double amour AKA Double Love (1925) Jean Epstein 1921-1930 Drama France Silent. Le double amour (1925) Quote: Countess Laure Maresco falls in love with a player, Jacques Prémont-Solène. He loses a large sum and dreams of suicide.

  7. Hace 16 horas · In 1920, Dada reached its peak and the visions of Dadaist "events", exhibitions, books, articles, and magazines became more defined. After years of promoting itself as a movement of anti-art, Picabia felt Dada had become just another system of established ideas. In 1921, he attacked other Dadaists in a special issue of 391, Phihaou-Thibaou.