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Tag: The Immigrant (1-3 of 3)

'The Immigrant': Marion Cotillard finds hardship in America -- VIDEO

Marion Cotillard plays a Polish immigrant who comes to America full of hope — and stays as a prostitute — in The Immigrant. 1920s America: what a time!

The film, directed by James Gray, was met with glowing reviews at the 2013 Cannes festival. It follows the story of Cotillard’s Ewa, who struggles to find the American dream while working for a pimp (Joaquin Phoenix) as a magician (Jeremy Renner) tries to help set her free.

The Immigrant comes out May 16. Watch the trailer below: READ FULL STORY

'The Immigrant': Marion Cotillard yearns for 1920s American dream -- VIDEO

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The 1920s in America were full of promise, but also a ton of hardship.

Nowhere is that more prevalent than the immigrant experience, and the millions of people that came through Ellis Island in search of a better life. In The Immigrant, one of those huddled masses is Marion Cotillard, whose character comes over with her sister from Poland. Unable to gain citizenship, she becomes a prostitute in the house of Bruno (Joaquin Phoenix), “a morose exploiter with a poison soul, who nevertheless loves her in his tormented-sadistic way,” according to EW critic Owen Gleiberman.

The film, directed by James Gray (Two Lovers) and also starring Jeremy Renner, originally premiered at the Cannes Film Festival earlier this year.

Watch the slightly NSFW French trailer below: READ FULL STORY

Cannes 2013: 'Blue Is the Warmest Color' is a seriously sexy French lesbian love story

There’s a first time for everything. At a Cannes showing of Blue Is the Warmest Color, a three-hour French drama about a young woman who falls into a romance that digs its hooks in and won’t let go of her, the audience sat raptly as Adèle (Adèle Exarchopoulos), a quietly precocious 17-year-old Paris high school girl, goes to bed with Emma (Léa Seydoux), the painter and Fine Arts graduate student she met at a lesbian bar. It’s Adèle’s first experience with another woman — but ever since the late ’70s, there have been plenty of lesbian-awakening dramas, most of them on the soft and dewy side. In this case, when the sex scene was over, after what felt like it must have been 15 minutes of writhing, moaning erotic hunger, people in the audience burst into whoops of approval and applause — something I have never in my life seen happen after a sex scene. It’s not so much that the audience was being cute, attempting to acknowledge that the scene was “hot” (although yes, it seriously was). What they were applauding was the authenticity: the fact that the heat was real, and thus the heat had become the drama. Very Last Tango, except minus the perversity. READ FULL STORY

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