Isabelle Huppert, 1994.
Isabelle Huppert and Bruno Ganz.
Philippe Garrel, Isabelle Huppert, and Maurice Pialat.
“One of the great aesthetic pleasures of the Technicolor era of Hollywood are the deep-set blacks of shadows and night time—if the filmmakers and cinematographers prefer this dedication to ensconced darkness. For my money, directors Henry King and Tourneur are the two who best bring out these qualities, and Gaucho, which originated as a picture for King, is full of tenebrous evenings that pulsate with eroticism, melancholy and loneliness.”
Daniel Kasman reports on his favorite moments thus far from the Locarno Film Festival at Notebook.
mubiblog reblogged
Source: mabellonghetti
Isabelle Huppert and Kim Min Hee in Claire’s Camera and The Day After (Hong Sang-soo, 2017)
mubiblog reblogged
Isabelle Huppert photographed for Citizen K (2017)
Forever young.
Joyeux anniversaire, Huppert.
“’I’ve never seen an actor add so much that was not in the script,’ raves Verhoeven(1). Huppert’s unusual levels of contribution to her films cross over into categories of authorship, her role as actress posing questions about the lines between directors and actors, screenwriters and actors.”
Nel Dahl considers Isabelle Huppert’s total artistry at Notebook.
Isabelle Huppert photographed by Arnaud Baumann, Cannes, 1991.
Paul Verhoeven & Isabelle Huppert photographed by Lukas Göbel
Isabelle Huppert walking in the streets of Montmartre, photographed by Robert Doisneau, Paris, in 1985.
A Guy Bourdin photograph of Isabelle Huppert in 1989.
Isabelle Huppert posing for Helmut Newton in Cannes in 1976.
Isabelle Huppert, golden globe winner for Paul Verhoeven’s Elle