Jean-Jacques Beineix
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In a kind of devilish performance duet, she’s ably matched by a punky live-wire turn from Rumpf, who channels an unholy blend of Béatrice Dalle in “Betty Blue” and Fairuza Balk’s signature 1990s role in “The Craft.”
The script by Roth and Guillermo Amoedo plants a lot of Chekhov’s guns early on, all surrounding the innocent-faced main character Justine (Lorenza Izzo): a flute necklace, a lecture on female genital mutilation, and, perhaps most obscurely, a poster for Jean-Jacques Beineix’s anguished epic Betty Blue tacked above her bed back home.
In the same way that Baby Driver wore itself out (Wright’s overswing swept past the romantic coming-of-age splendor of Jean-Jacques Beineix’s Diva that he unconsciously imitated), Last Night in Soho exaggerates the macabre erotic undercurrents of Repulsion, Die, Die, My Darling!, and even the slashings of Dressed to Kill .
There was a French style of filmmaking in the 1980s called, disparagingly by some, the “cinéma du look,” its prima exemplar Jean-Jacques Beineix’s “Diva” (1981).
It is that well told and acted, screenplay by David Birke based on Philippe Djian's ("Betty Blue") novel "Oh...".
Adapted from “Oh...”, a recent novel by Philippe Djian (author of the source novel for the semi-notorious Betty Blue ), it adopts a decorous coolness reminiscent of the bourgeois suspense films of Claude Chabrol and, at times, the surreal subversions of upper-class mores and relationships of Luis Buñuel.
(“Elle” is based on the novel “Oh …,” by Philippe Djian, the author of “Betty Blue.”)
In its somewhat Melvillean views of Taipei after dark, neon-lit as the title suggests, and its story of outsider youth zipping around on motorbikes between crime sprees and bursts of sex, Rebels offers a funky nightscape of a film that, very roughly speaking, is to early Nineties Taipei what Jean-Jacques Beineix’s more comic-strip-styled Diva was to Paris a decade earlier.
She's not an exotic out of Diva, though you'll recognize the violent poetry of that Beineix masterpiece in the imagery.
Sitting through his earlier, monotonous Subway (1985) and this new, more enjoyable, but still naggingly shallow film, I've sometimes gotten the feeling that he's seen only one movie in his life Jean-Jacques Beineix's smash hit, Diva.
Beineix, along with Luc Besson (Subway, La Femme Nikita) and Leos Carax (Bad Blood), was tagged as a director whose films of the 1980s have the ravishing high gloss and urban chic of a magazine fashion spread.
Jean-Jacques Beineix's smash hit, Diva.
The emaciated storyline fixates relentlessly on an intensifying partnership between the eponymous Betty (Béatrice Dalle) and her blithely deadbeat lover Zorg (Jean-Hugues Anglade, who would later riff on his obliquely emasculated persona in La Femme Nikita).
That's when I realized: what I know about the work of Jean-Hugues Anglade you could fit on the head of a pin; I've only seen him in one other performance, as Zorg in Betty Blue (a.k.a.
Ultimately, Electra is little more than another example of one of French cinema's favorite tropes, the Crazy Beautiful Sex Bomb Who Can't Be Tamed (see also: Beatrice Dalle's character in Betty Blue, for the most iconic deployment of this archetype).
Chastain is an admirably prickly leading lady here – she’s basically her character from Zero Dark Thirty in a Betty Blue wig and sweatpants.