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Juliette et Justine, le vice et la vertu
Sade'sopera is often presented as an "anti-utopia," a dystopia where murder, sexual violence, and anthropophagy are praised as long as they allow the powerful to rejoice unhindered.
Isabelle Huppert lends her voice to two emblematic figures from Sade'sopera : Justine and Juliette, two sisters with opposite fates, one lost to because of virtue, the other triumphant because of vice.
Through them, Raphaël Enthoven questions the discomfort that weighs on the scandalous writer's literary production and message: "I cannot explain why the Marquis Sade continues - legitimately - to to shock us. (...) His praise of vice and the orgiastic excesses from he describes are not enough to understand the continuous disgust he inspires. Evil comes from further afield. Sade is the shadow of Enlightenment, the dark side of the sun. His immorality is first and foremost amoral. When the unbeliever rails against the "chimera of the gods" we must mean his refusal to believe that the world exists for our pleasure. Perhaps this is why he is indigestible: because of the constancy with which he constantly constructs a philosophy -- and even an ethics -- on the basis of a glacial and inhuman world."
Isabelle Huppert wonderfully reads excerpts from "Divine Marquis" to a packed hall of spectators.
The text boasts majestic French, highlighting Sade's great French prose.
Isabelle Huppert plays the two sisters from time to time, with malice or seriousness. She is perfect. Thanks to her, Sade's classical and ancient style appears graceful, modern and free of monotony. Huppert is a great actress, open to all creative experiences. And here she gives, once again, confirmation of that.
LIBRE, Belgium
with Isabelle Huppert
selected texts from Raphaël Enthoven
Les Visiteurs du Soir production
co-production Palais des Beaux-Arts de Bruxelles
performance in French with Italian subtitles to curated by Prescott Studio, Florence
only Italian date
She studied Oriental languages while simultaneously attending drama courses at the Ecole de la rue Blanche and the National Conservatory of Dramatic Art where she was a student of Jean-Laurent Cochet and Antoine Vitez.
She came to prominence in her first film appearances in Bertrand Blier's Les Valseuses(The Very Holy Ones), Liliane de Kermadec's Aloise, and Bertrand Tavernier's Le Juge etl'assassin (The Judge and the Assassin). For her performance in Claude Goretta's La Dentellière(The Lacemaker), she received the Best Newcomer Award from from the British Academy of Film and Television. The complicity that binds her to Claude Chabrol allows her to try her hand at all genres: comedy(Rien ne va plus), drama(An Affair of Women), noir(Thank You for the Chocolate) and literary adaptation(Madame Bovary), up to the political fiction of The Comedy of Power. The roles in which she is directed from Chabrol receive numerous awards: the Cannes Film Festival presents her with the award for performance for Violette Nozière, while the Venice Film Festival honors her for An Affair of Women, and the Moscow Film Festival for Madame Bovary; for _La Cérémonie _she earns the best actress award at both the Venice and César festivals.
The actress, who has also worked with Jean-Luc Godard, André Téchiné, Maurice Pialat, Patrice Chéreau, Michaël Haneke, Raoul Ruiz, Benoit Jacquot, Claire Denis, Christian Vincent, Laurence Ferreira Barbosa, Olivier Assayas, François Ozon, Anne Fontaine, Eva Ionesco, Joachim Lafosse and Serge Bozon, is also appreciated by major international directors including Otto Preminger, Joseph Losey, Michael Cimino, the Taviani brothers, Marco Ferreri, David O' Russell, Werner Schroeter and Andrej Wajda, and recently from Rithy Panh, Brillante Mandoza and Hong Sang Soo.
The Venice Film Festival jury awarded her a special Golden Lion for her performance in Patrice Chéreau's Gabrielle, as well as for her luminous career.
At the prestigious Cannes Film Festival, which has honored her twice (including for Michael Haneke's The Pianist ), she served as juror and master of ceremonies, presiding over the 62nd edition's jury.
In addition to film, Isabelle Huppert complements her work in theater both in France and abroad: she has acted with Bob Wilson (_Quartett _by Heiner Muller, Orlando by Virginia Woolf), Peter Zadek(Mesure pour Mesure by William Shakespeare), Claude Régy (_4.48 Psychose _by Sarah Kane, Claudel's Jeanne au bucher ); embodied Euripides' Medea in Jacques Lassalle's staging at the Avignon Festival; Henrik Ibsen's Hedda Gabler, directed from Eric Lacascade. She also starred in Tennessee Williams' A Tramway, directed by Krzysztof Warlikowski at the Théâtre de l'Odéon, taking the play on tour abroad as well, and most recently in Jean Genet's The Maids, directed by Benedict Andrews, with the Sydney Theatre Company.
Catherine Breillat's _Abus de Faiblesse _, Marc Fitoussi's Folies Bergère, and Ned Benson's The Disappearance of Eleanor Rigby are his latest films.
After working at Magazine LIRE from 2002 to 2005, Enthoven contributed a column to Philosophie Magazine that has been present since the first issue, the texts of which were collected and edited from Gallimard into three publications(L'endroit du décor, _Le Philosophe de service et autres textes _e Matière Première). In 2007 Fayard published his first book, to halfway between essay and novel, entitled Un jeu d'enfant - la philosophie. Enthoven participates, together to Michel Onfray, in the launching of the People's University of Caen, then contributes to the creation of the Société Normande de Philosophie; from 2004 he begins to organizing and to conducting, initially at the Bibliothèque François Mitterrand then at the Théâtre de l'Odéon, a series of annual meetings with philosophers, writers and art historians, inspired by the oxymoron dear to Antoine Vitez: "elitism for all." From 2003 to 2006 he produced an oral library on France-Culture, as part of the program Commentaires (available on CD), the purpose of which is to make the general public understand the classics of thought. From 2007 to 2011, while engaged in the publication Philosophie on ARTE (since 2008), he produces and hosts Les Nouveaux chemins de la connaissance, which offers France-Culture listeners a daily hour of philosophy, art history, and literature. In 2012, after France-Culture's program "The World According to Raphaël Enthoven," he launched a new program titled Le Gai Savoir, broadcast on Sundays. But whether on radio, television, newspapers or inside a classroom full of students, Raphaël Enthoven teaches philosophy. "Philosophy makes you want to teach," he declares, "just as love makes you want to sing." Starting from the principle that if philosophy does not make progress, one can still make progress in philosophy, he attempts to demonstrate the echo of everyday life experiences in classical texts. An avid reader of Spinoza, he continues to down the road that, in the Ethics, leads from hopelessness to cheerfulness.