NATALIE PORTMAN | JACKIE | PABLO LARRAIN
"LE MEILLEUR FILM DE L'ANNEE" - Radio Canada
"THE YEAR'S BEST FILM" - Huffington Post
Natalie Portman nommée aux Oscars 2017
Best Actress | Academy Award Nomination
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Xavier DOLAN, Radio Canada : "JACKIE, film que j'adore, c'est un chef-d'oeuvre. Dire à quel point j'aime Jackie... C'est vraiment formidable. La performance de Natalie Portman dans Jackie, ça redéfinit vraiment c'est quoi l'interprétation moderne. Je pense à toutes les performances qui ont été nommées aux Oscars dans les dernières années, et qui ont gagné, j'en pense pas à une, une, qui soit plus forte, qui soit plus inspirée, qui soit plus humaine que celle de Natalie Portman... Elle joue pas, elle existe, elle nous emmène dans des... C'est vraiment remarquable comme performance, c'est très très intimidant de voir ça... ça doit être très intimidant pour (une actrice) contemporaine d'elle, de regarder cette performance-là... : "Je pensais que j'avais des chances, mais..."."
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Xavier DOLAN, VARIETY : "I can’t think of a recent movie that’s filled me with ecstasy like “Jackie” did. It left me artistically intimidated and wonderstruck.
Fragmental but never diffused, vaporous yet always precise, Pablo Larraín’s film is as organized as it is organic, and free.
Over Mica Levi’s grand and disorienting score, the film plies between past and present, desperately looking for “Jackie O.” She isn’t hard to find. With great style and sensibility, Natalie Portman surpasses herself. From gait to inflexions, laughter to stillness, she redefines modern acting: sublimating the inherent opportunity of the role into something temerously mortal, she might as well die before our eyes, killing herself to exist, unendingly.
Noah Oppenheim’s screenplay delivers her those earth-shattering moments of implosion, the tectonic plates of his smartly interwoven chronologies colliding perfectly, with Portman dancing and stumbling soddenly on the fault line. “Jackie” is distilled poetry, the story of a heartbreak, and the loss of ideals of a woman endowed with toxic power. Every shot, every outfit, every line, falls vertiginously in place with effortless virtuosity.
I left “Jackie” with an urgent need to be better, to create indelible, lasting things. I often thought I’d burst into tears during the screening. It was only later that night that I realized that I wasn’t holding back tears of sadness, but those of wonderment for the talent of a group of extraordinary artists fighting for a bygone cinema anew.
You can’t learn it. You can’t fake it. It can’t be right, it can’t be wrong. It can just be.."
Xavier DOLAN on ‘Jackie’ | Director: Pablo Larrain - VARIETY
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Radio Canada : "Jackie, le meilleur film de l'année". "C'est ça selon nous le meilleur film de l'année. Une approche formelle vraiment stupéfiante" "Immense coup de coeur pour ce film-là". "Natalie Portman est extraordinaire. Elle devient une de ces grandes actrices sur lesquelles on sait qu'on va devoir compter dans les prochaines années. Elle devrait avoir l'Oscar pour Jackie. Vraiment phénoménale. Une femme dans toute sa complexité." "Un des films les plus généreux que j'ai vus. Un film complet. Un montage brillantissime. Un portrait de femme comme on en voit rarement. Un exercice de scénario et de dialogue comme on en a rarement vu." (Extraits de l'émission Radio Canada Cinéma avec Helen Faradji et Georges Privet : Jackie avec Natalie Portman)
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-- Joyce Carol Oates : "An accomplishment. (...) "Jackie" is beautifully acted & performed as a Balanchine ballet. If only it were longer-- (...)
Highly stylized, not so much dramatic as elegiac, meditative. "Jackie" feels choreographed"
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Conversations with Natalie Portman of JACKIE | SAG-AFTRA Foundation | 20 JANVIER 2017
- L'entretien commence à la dixième minute -
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"L'INTERPRETATION LA PLUS CELEBREE DE L'ANNEE"
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"Natalie Portman Better Than Ever"
"In The Year’s Best Movie, Jackie Kennedy Writes Her Own History"
"95 haunting minutes ― the best 95 minutes on the big screen this year ―"
"Natalie Portman's most demanding and complex performance to date"
"A fascinating, deeply committed performance—, you can’t take your eyes off of her"
"A Psychodrama of Hypnotic Intimacy"
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Best Actress | Natalie Portman nommée aux BAFTA 2017
Best Actress | Natalie Portman nommée aux Screen Actors Guild Awards 2017 (SAG Awards)
Best Actress: Natalie Portman | 22nd Annual Critics' Choice Awards
Best Actress in a Motion Picture Drama | Natalie Portman nommée aux Golden Globe Awards
Best Actress: Natalie Portman | 2016 WAFCA Awards (The Washington, D.C. Area Film Critics Association)
Desert Palm Achievement Award for Best Actress: Natalie Portman | Palm Springs International Film Festival 2017
Hollywood Actress Award: Natalie Portman | Hollywood Film Awards 2016
Platform Prize : Pablo Larraín | Toronto International Film Festival 2016
Prix du Meilleur Scénario: Noah Oppenheim | Mostra de Venise 2016
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NATALIE PORTMAN : JACKIE | PABLO LARRAIN | SCENE
La vie de Jackie Kennedy après l'assassinat de JFK, à Dallas en novembre 1963.
SORTIE FRANCE 1 FEVRIER 2017
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"In The Year’s Best Movie, Jackie Kennedy Writes Her Own History. 95 haunting minutes ― the best 95 minutes on the big screen this year ― " The Huffington Post
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No 5 JACKIE | The GUARDIAN: The 50 best films of 2016 in the US: "Perhaps the only good thing to come out of Hollywood’s increasing trend toward end-of-year prestige biopics is a rise in film-makers who are equally tired with the musty format and keen to craft something unconventional instead.
Last year’s vastly underrated Joy succeeded by embracing dreamlike whimsy over formula. Pablo Larraín’s Jackie, starring Natalie Portman as US first lady Jacqueline Kennedy, similarly replaces dry predictability with thrilling experimentation."
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JACKIE 5e meilleur film de l'année 2016 selon Esquire: "the piercing majesty of Jackie, an unconventional, hauntingly lyrical snapshot of Jackie Kennedy (played by an astounding Natalie Portman) in the week immediately following the November 23, 1963 assassination of her husband, President John F. Kennedy. Framed by an interview between Jackie and a reporter (Billy Crudup), Larrain's masterful drama uses incessant close-ups to dig deeply into the conflicted interior condition of his subject, who finds herself both battling with grief and struggling to immediately lay the groundwork for her husband's legacy. Graceful and gripping, it's a period piece character study that cannily speaks to the way in which words—and, tellingly, also visual images—are the tools by which we shape history." The 25 Best Movies of 2016
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"Powered by a transfixing Portman, Larrain's film – one of the year's best – is appropriately hard to pin down and impossible to forget. (...) Maybe you're thinking the last thing you want to see is a TV-movie–ish take on the life of Jacqueline Kennedy. Good news. Jackie is not a damn thing like that. There's hardly a conventional biopic minute in it. (...) Natalie Portman Turns Offbeat Biopic Into Major Oscar Contender" (Rolling Stone : 'Jackie' Review)
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"Portman is altogether astonishing in the role. Apart from sharing a wide smile, she doesn’t much resemble Kennedy. She is however gifted with an overpowering beauty – much like the real-life figure – that Larraín makes great use of in key scenes to illustrate the galvanising effect Kennedy had on those around her. Most importantly, Portman thoroughly nails Kennedy’s breathy and docile-sounding voice, without letting the affectations get the better of her. Her accent doesn’t define her portrayal – it infuses it with a tenacious vitality.
As written by Oppenheim, Kennedy is a wonderfully complex character, bursting at the seams with contradictions. (...)
Pablo Larraín’s portrait of the first lady before and following John F Kennedy’s assassination doesn’t play to the standard tropes of Hollywood biopics. It’s a singular vision. (...)
Larraín has never told a true story in a predictable manner, and he doesn’t here. (...) – It’s great cinema."
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"...director Pablo Larrain has taken that most impersonal of genres – the three-handkerchief biopic – and delivered something that is bracingly, gloriously and entirely his own. Running counter to convention at nearly every turn, and anchored by Natalie Portman’s achy-eyed performance, “Jackie” is, despite a few wrinkles at the end, about the best version of this story you can get"
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"“Jackie” is a biopic that is actually interested in its subject, and not just in what happened to her. This means Portman’s performance in the title role is not just foregrounded, it’s everything. And yet it’s hardly naturalistic — she is, in fact, with her exaggerated breathiness and excessively precise, well-bred diction, extremely mannered. But is it Portman being mannered or Portman playing Jackie being mannered or Portman being mannered playing Jackie being mannered? The genius and the lunacy of Larraín’s eternally idiosyncratic approach here is that he doesn’t run from these mannerisms. He doesn’t cut around to reaction shots or macros or inserts to try and apologize for them. To the contrary, many of his shots of Portman (photographed to glowing luminescence by Stéphane Fontaine) are straight-on close ups, so we can see everything that is real (her expressive eyes, her changeable moods) and everything that is affected (her mouth working those over-enunciated words, the way she smokes as though she’d never lifted a cigarette before). Larraín seems not just unafraid of the moments of kitsch but fascinated by them, amused by them, wanting to investigate and play with them.
It may even be that Portman would not have been right for the role had it been anyone but Larraín directing — physically she is different from Jackie, not that physical resemblance is particularly important in a film that sees Peter Sarsgaard play Bobby Kennedy (very well, incidentally). Portman, whom you do really get to think about as an actress during this film with its many lingering close-ups, has an ethereal, elusive quality, a face that sometimes seems made shy by its own beauty, as though she might run away from it if she could. The historical Jackie exuded a different quality, just as glamorous, but despite her carefulness and rehearsedness onscreen (as in her famous “TV tour of the White House” which is recreated here), somehow more embodied, more of-this-earth. “Jackie” is so intelligently involved in the difference between a private person and a celebrity’s constructed public image that this dissonance between actress, character and actual historical personage somehow enhances that investigation. It makes Portman possibly the perfect actress to be ever so slightly miscast in the role."
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"Oh, right, and there’s Natalie Portman as the grieving, shellshocked First Lady. Her presence in the movie is probably the biggest draw for many, and it is indeed a fascinating, deeply committed performance—to use another hackneyed cliché, you can’t take your eyes off of her. When talking about Portman after the premiere last night, I kept calling her performance “huge,” which people took to mean over-the-top or inhumanly outsize. It’s not. But it’s expansive and detailed and rendered with intensity, the most invigorating and significant piece of acting she’s done since 2010’s Black Swan. (...)
Portman doesn’t do an exact imitation of Jackie’s birdy, breathy affectations, her curling downspeak at the end of sentences. But she does something that’s smartly evocative of it, while also delivering a compellingly modulated performance beyond all the mechanics of voice and bearing. In Larraín’s watchful aesthetic, Portman’s intensity works rather perfectly—together they create something transfixing, a film that washes over you as it loops and lingers.
That said! I’d have to imagine that not everyone will like Portman’s performance, though it seems to have gotten mostly raves here in Toronto. It’s such a daredevil piece of a work, a tightrope gig that demands an actress play one of the most iconic figures of the 20th century. That’s bound to have some people thinking that the attempt crashes and burns. Which, hey, Portman could have played it safe and gone for something more restrained. But she doesn’t; instead, she puts it all out there with trembling conviction. I found her captivating, and think that if the movie lands a distributor and comes out this year (as I hear it will), Portman is bound for another run at awards glory".
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"Natalie Portman éblouit tout le monde. Elle apporte toute sa fragilité, sa sensibilité et sa force à ce personnage complexe et imposant. Ce ne serait pas surprenant qu’elle ait, au minimum, une nomination aux Oscars. (...)
Pablo Larraín filme au plus près. On a l’habitude de le voir filmer au plus près des corps. Il fait beaucoup de plans rapprochés, plans américains voire gros plans de visages. C’est une façon d’immerger les spectateurs dans son récit, qu’ils aient de l’empathie pour les protagonistes. C’est quelqu’un qui a un sens inné de l’image, en témoigne la très belle (une fois encore) photographie que l’on doit à Stéphane Fontaine, chef opérateur ayant travaillé dernièrement sur Elle, Captain Fantastic ou encore Samba, Jimmy P. et De rouilles et d’os. Larraín a l’art de créer des ambiances en donnant un rôle prépondérant à la musique. Cette dernière, constituée essentiellement de piano et de cordes est omniprésente, à la limite d’être oppressante. Le film prend une dimension très entraînante à cause du montage et du jeu sur les temporalités, non linéaires, effectué par Larraín et son monteur Sebastián Sepúlveda (qui avait déjà monté El Club)."
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""I lost track somewhere what was real, and what was performance," she reflects. Jackie suggests that distinction may be moot. Portman's never been one to disappear into her roles, but here that's a strength. The fact that she always feels like she's acting lends the character a tragic dimension: even her most intimate feelings are the subject of public speculation, and rather than duck the press and let them invent their own story to fill the vacuum, she takes the reins herself." (BBC)
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NATALIE PORTMAN is JACQUELINE KENNEDY
“I DIDN’T SEE ANYBODY ELSE PLAYING JACKIE. IT WAS A COMBINATION OF ELEGANCE, SOPHISTICATION, INTELLIGENCE, AND FRAGILITY. BEAUTY AND SADNESS CAN BE SOMETHING VERY POWERFUL IN OUR CULTURE.” - DIRECTOR PABLO LARRAÍN
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Washington Post: "The film, which uses a collagelike technique of time-hopping vignettes to render a complex, even contradictory portrait, is collecting raves, and Portman is widely considered a shoo-in for an Oscar nomination for best actress. (...) The part required Portman to deliver a portrait with many faces, which relates to the film’s theme of public image vs. private persona. In Noah Oppenheim’s screenplay, “Jackie” is framed as almost random flashbacks, set within the context of an interview with an unnamed journalist, played by Billy Crudup. Over the course of those flashbacks and the interview, Jackie reveals herself to be by turns sarcastic, seductive, strong, supercilious, scared and, perhaps above all, concerned about crafting a legacy — not just her husband’s, but her own. (...) In a stark departure from traditional linear narrative, the movie’s scenes aren’t chronological. “Imagine there are no scene numbers,” Larraín told Portman, “and that any scene can happen anywhere.” “So often you’re trying to create this emotional through-line that connects, from scene to scene, and that creates an arc,” she said. “But this is a lot more jagged. It really jerks you in and out. Jackie is composed one minute, and confused, terrified, angry or spiritually in crisis the next. It was anything, at any moment.” As Oppenheim puts it: “The idea of trying to be definitive is a fool’s errand.”"
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Natalie Portman: “I think the way that Pablo, the director, allowed the film to be explored, where there's all these sort of fragments of a person, pieces of a person in different situations with different people, different roles, it allowed for a very complete portrait of a woman, I think it is very unusual to let a woman be many different things, because we are different people in different situations. We each have many different people inside of us, men and women. But I think often it's not explored as much with women -- and rarely with men too. There's the public person even for someone who's not well known. There's who other people think you are, there's the way you want other people to see you, there's who you really are, there's who you want to be, there's who you should be. I mean there's all of these aspects and at different moments you are different things and you aspire to different things. That was definitely a big part of the thinking with it -- with how to be and which of these characters you show different things to in which situations".
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Quand Darren Aronofsky propose à Pablo Larrain de réaliser JACKIE, Larrain pose une condition : que Natalie Portman soit Jackie. "Sinon je ne fais pas le film". Pourquoi Portman ? Pablo Larrain explique : "It was her mystery. You sit her in front of the camera, dress her however you need to dress her, get her to look however she has to, ask her to describe everything she feels and everything she’s thinking, and you will still wonder what’s going on. That’s her mystery. That’s a resource in cinema. You never get all the answers. If you do, the game is over". (FilmComment)
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Roy Orbison : She's A Mystery To Me
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Réécriture pour centrer le scénario sur Natalie Portman.
"Pablo Larraín told Natalie Portman he would ask the writer, Noah Oppenheim, to cut every scene in the script that didn’t include her. “I remember she sort of opened her eyes wide,” he says. “I guess that’s frightening for an actor. But at the same time it’s challenging, and Natalie’s a real artist and she takes risks.” "She was an incredibly mysterious person, and I think Natalie has that in her eyes. That’s why I wanted so many close-ups.” (New York Magazine, November 28, 2016)
Pablo Larrain: "We have another draft in which I had [screenwriter] Noah [Oppenheim] remove all the scenes without Jackie. Natalie accepts. I honestly didn’t expect someone like her to work with someone who made the movies I made. But this says a lot about her, that she’s willing to take risks with people" (Film Comment)
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FilmComment - Do you see your films as being personal in that sense, as a way to explore darker parts of yourself?
Pablo Larrain : "You wouldn’t believe how fast it happens. You’re telling a story that has nothing to do with you, and then suddenly it gets down into something extremely personal".
FilmComment - I ask because there’s a deep perversity at the heart of your films.
Pablo Larrain : "If there’s no perversion, there’s no beauty. Forget it. The word perversion comes from Latin. It means to see the reverse. Per-version: a different version of the story. It doesn’t necessarily refer to the actions of what we typically call a perverted, evil person. A bad priest, say. Or Donald Trump. It’s an oblique way to understand reality. And it becomes personal. Cinema is personal, man. The filmmakers that you or I admire were very personal".
Natalie PORTMAN : Les grands réalisateurs ont toujours une forme de perversion dans leur façon de voir les choses. Ils sont inattendus. Ils voient les choses sous un angle particulier. (SAG-AFTRA FOUNDATION, 20 janvier 2017)
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NATALIE PORTMAN : JACKIE | PABLO LARRAIN | TEASER
NATALIE PORTMAN : JACKIE | PABLO LARRAIN | INTRO
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"I feel so lucky to have been part of this film that is about a woman who was maybe known first for being a wife, um, first to Kennedy and then to Onassis, but then became someone who could be recognized on-on their own merits, just... just as Jackie. Um, and I think it's really incredible - an incredible opportunity and unfortunately, a rare opportunity in our industry to get to portray a woman so complicated, to have so many assets - aspects of her, um, revealed and to look at her humanity not as a wife, as a mother, as a daughter. She's not to be respected because of her relationship to a man, but because of her humanity and her, um, her-herself as a subject of desire, not an object of desire. And I salute the many men behind this film who we obviously need many female voices to tell stories, but it's also essential that the men who are telling stories consider women as complete human beings and not just in relationships to other men. And to have our producers Mickey Liddell, Darren Aronofsky, and... and many others, actually, many producers on the film, and Darren, of course, who has been so generous with me throughout my career, um, and my life in giving me these complex women, ah, to portray. And Pablo Larraín, the director, who's just a phenomenal person, and again, was telling this story of a human being, not a woman, and I think that-that's a real rarity, unfortunately. And to Fox Searchlight, Nancy and Steve, who are wonderfully taking on this movie on-on a journey. And to the Hollywood Film Awards, so kind of you, I really appreciate being in a room with so many people I admire and respect so much. Thank you."
Natalie Portman recevant le prix de la meilleure actrice pour "Jackie", Hollywood Film Awards 2016
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JACKIE | Featurette | Ensemble
JACKIE | Featurette | Natalie
JACKIE | Featurette | Crafting the World of Jackie
JACKIE | Featurette | White House Tour
JACKIE | Featurette | Pablo Larraín
JACKIE | Featurette | Creating Camelot
JACKIE | CLIP | Happy Birthday
JACKIE | CLIP | You Ready
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JACKIE KENNEDY Natalie Portman
BOBBY KENNEDY Peter Sarsgaard
NANCY TUCKERMAN Greta Gerwig
LE JOURNALISTE Billy Crudup
LE PRÊTRE John Hurt
BILL WALTON Richard E. Grant
LYNDON B. JOHNSON John Carroll Lynch
LADYBIRD JOHNSON Beth Grant
JACK VALENTI Max Casella
JFK Caspar Phillipson
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