Cinema: Julianne Moore and Natalie Portman, the conflict of two stars

Julianne Moore and Natalie Portman in a game of fake likenesses, authored by the illicit relationship between a coach and a miner-garcon: “May December” sorts mercredi January 24, 2024 in the salons.

The film (1 hour 57 minutes), which will compete at Cannes in May, marks the return of prize-winning filmmaker: American Todd Haynes, author of the thriller Dark Waters, with Mark Ruffalo, Scandalous Sanitation, The Romance Carol with Kate Blanchett and Rooney Mara and many other works in the rock style, except for “I’m not there” about Bob Dylan and “The Velvet Underground”.

Todd Haynes in reverse: the game of entrepreneurship and seduction that is the movie, and famous for a long time, between men and teenagers.

Julianne Moore, 63, personifies Gracie, a woman who has lived in this shambula for many years plus everything, for the discovery that she is maintaining a pedophilic relationship with a 13-year-old teenager who also revealed his love. The affair was widely reported in the tabloids at the time.

Depuy, teenager and great, couple of ten and children, big Gracie, who occupies the spirit and sells the gates in voisinage, est toujours incrite au fichier public des delinquants sexuels et détestée par ceux qui n’ont pas oublié son histoire.

Elizabeth (Natalie Portman, 42), an actress, opens a film project in the foyer for this family with others. She played the role of Gracie, in an era when she was a teenage lover, with the promise of a fair understanding of many people, which became a point of view for a large audience.


Surviving among the elderly Gracie and Marie’s son Jo Yu (Charles Melton), Elizabeth becomes part of the family, and she never considered her son obsolete. And play her-me game plus plus flu.

“Seeing these women behaving in morally ambiguous ways opens up the spectrum of possibilities for (representation of) women,” Natalie Portman told AFP. The implementer’s point of view “is to consider women as people, and where they are offered a full range of behavior”, most of which is proven by society.

“Ça me Rend toujours dingue, when the race pretends that the world will be a better place if only women rule it. Hey no! Les femmes sont des humanes, avec toutes leurs nuances,” ajoute-t-elle.

Le mécanisme deni au Cœur du Film, which disturbs us, was appreciated by Cote’s son Todd Haynes: “I thought it was like a cela qu’on survit. Il n’y a pas d’endroit où l’on se voit completely on the face, it’s an illusion. We curse the names of our desires, for a good cause. This is what civilization tempts.

Ça me Rend toujours dingue, when the race pretends that the world will be a better place if only women rule it. Hey no! Women are people, with all their nuances.

“May-December” is a time when questions and debates about moral dilemmas arise. C’est quelque Choose de Vital au Cinéma”, ajoute le implementer. More “il est de plus en plus dur de faire ce film genre.”

A foray into public universities is the accompaniment of controversy: a person is not inspired by a script who complains about a film without an adviser. During interrogations by the American press, actresses, despairing of their students, insist that their work is pure fiction.

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