The authorized film, entitled "Yves Saint Laurent," was directed by Jalil Lespert and came out in U. theaters last summer (it is now available on Netflix).The unauthorized one, directed by Bertrand Bonello and titled "Saint Laurent," debuted at the Cannes Film Festival in May and is finally opening stateside in select theaters on Friday. We compared the films by categories, from most charming muses to best fashion and more interesting plot. Playing the role of a real person without coming across like a caricature is certainly challenging, and both actors avoided any heavy-handed impersonation.More as a recount of Yves' emotional flow than an orthodox chronicle, Bonello dares to throw the narrative into disarray with symbolic projections (buddha, snakes and mirrors) and overlong takes to set the atmosphere arousing, risks losing the correlations among characters in order to concoct a sumptuous feast of haute couture in its most paradigm-shifting moments (frankly speaking YSL is too shabby and drab by comparison) and a dysfunctional psyche of a trend-setter who owns-it-all and still cannot find satisfaction inside albeit all the extravagance he is endowed and channels.It is a flawed film no doubt, the last half-hour is too erratic to concentrate, but one should appreciate the intention at the first place, plus Gaspard Ulliel brings about his boldest performance ever, not to mention the nudity out of the closet bravura, if only the story would be edited and collaged in a more sequential manner, he excellent radiates with vulnerability, condescendence, bewilderment, allurement and pride which all can be conducted to a person at the position where Yves Saint Laurent is.For the worse, Gallienne is another case of miscast, his superlative comedic bent has no room to exhibit, yet the film spends too much time on him - a more rigid and less interesting character loitering as an omnipresent voyeur spying on Yves, to an effect of slight annoyance, he doesn't possess an eye-grabbing charm to be a supporting scene-stealer, this is a compromise when you let the still-alive Pierre Bergé champion your film, he wants more spotlight and in reality, rarely one can do that from Yves Saint Laurent.Thus to say SL has more liberty in his character building, Yves is the one-and-the-only protagonist, everyone around him are bells-and-whistles, Renier's Bergé is barely given any chewy scenes to perform and as stylish as Seydoux's Loulou de la Falaise and Valade's Betty Catroux (whose only chance to stun the audience is in her introduction oner, the killing charm of a supermodel), Bonello scarcely offers them lines to utter, they are perfect ornaments around Yves, and reflects his aesthetics and discernment.Him and Kristen Stewart were the coolest, in completely contrasting ways.
yet we are the movers and shakers of the world for ever it seems ^ He really damn did.After a freak accident, Burt finds himself locked in a coffin overnight.After surviving the ordeal, he decides to live his life purely for pleasure, but ultimately he finds himself in a ...She's been in countless of catalogues and tv-ads and campaigns in France. Even Eddie Redmayne looks like he actually makes an effort next to Gaspard. Just The End Of The World is creating a lot of talk at Cannes.Gaspard Ulliel attends the 'It's Only The End Of The World (Juste La Fin Du Monde)' Photocall during the 69th annual Cannes Film Festival at the Palais des Festivals on May 19, 2016 in Cannes, France. The critics are very dividd but from everything I've heard or read Gaspard's performance is absolutely brilliant !
Niney embodies Yves with a disarming timidity, his disproportionally big nose against his sylphlike physique gives an impression of self- consciousness and he is wanting the confidence with which Saint Laurent should naturalistic-ally equip being a peacocking narcissist.