César Noms: Mustang, Marguerite, Melanie, and More...

Kristen Stewart's César win last year for Clouds of Sils Maria was historicThis year's César nominations (i.e. The French Oscars) have been announced. Due to the oddities of release schedules statesides, especially when it comes to subtitled pictures, many of the French films we've been discussing as "best ofs" like Girlhood, Saint Laurent, and Clouds of Sils Maria were 2014 features in France and honored accordingly. The only real crossovers with our current awards season are Denis Gamze Erguven's Oscar nominated Mustang (now playing in very limited release in the States) which is all over their nominations and two of their "Foreign Film Nominees" Hungary's Son of Saul and Italy's Youth which will compete with last year's US Best Picture winner Birdman.

Their nominations were led by the prestige vehicle Marguerite (which is "loosely based" on the story of Florence Foster Jenkins who is getting her own American biopic starring Meryl Streep this year) and Arnaud Desplechin's My Golden Days which are both expected to receive US theatrical releases in 2016. (If you see a link, it goes to our review of the picture, or past articles about the actor or director)

BEST FILM 

• Dheepan, Jacques Audiard
• Fatima, Philippe Faucon
• The Measure of a Man, Stephane Brize
• Marguerite, Xavier Giannoli
• Mon Roi, Maïwenn
• Mustang, Deniz Gamze Erguven
• Standing Tall, Emmanuelle Bercot
• My Golden Days, Arnaud Desplechin

Let's discuss their nominations and various beautiful Frenchies after the jump. 

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NYFF: My Golden Days

Manuel reporting from the New York Film Festival with an improbable prequel among this year’s selection.

No one does brooding romantic despair like the French. Arnaud Desplechin’s My Golden Days, a pseudo-prequel to his 1996 My Sex Life… or How I Got Into an Argument so revels in it that you could just as easily title it “The Sorrows of Young Esther.” And while yes, that title would be aping a German novel, Desplechin’s Esther (Lou Roy-Lecollinet) merits being name-checked alongside the most famous romantically bereaved character in all of literary history, and not only because Goethe’s novel, like Desplechin’s film, depends on the epistolary form.

Esther, who falls for Paul Dédalus (Quentin Dolmaire playing the younger version of Mathieu Amalric’s character from Desplechin’s earlier film), spends most of the time daring the camera to turn away from her sorrows, her tears, her despair, all of which she channels into the letter she sends Paul while he’s off at university in Paris. She cannot bear being away from him. Cannot bear her life without him.

Can you blame her? Dolmaire is beautiful!

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