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The Advertiser
16 hours ago
- Entertainment
- The Advertiser
A distinctive coming-of-age drama in the depths of country France
Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France. Holy Cow (M, 92 minutes) 4 stars Before his world abruptly changes, the young man at the heart of this story, set in rural France, is a typical 18-year-old. Mussing up his hair in the mirror, checking out the attractive talent with his best mates, and always one to take on a dare. He was without a care in the world, until the evening at a village fair when his drunken father drove off, crashing his car along the way home on a quiet country road. What begins for Totone (Clement Faveau) and his single-parent dad in a haze of alcohol and cigarettes on a long, hot day at the fairground ends in low-lit confusion and loss. A distinctive feature of this film, winner of the youth prize for best first feature in "Un Certain Regard" at Cannes, is its naturalism. If we feel empathy for the film's characters, plain-speaking country folks, it is because of their honesty, commitment or underlying good nature. The film's title derives from the expression "twenty gods", that translates to "holy cow" and certainly conveys a sense of the preposterous. It isn't the only colourful phrase that can be heard along with other local idioms. Something may be lost in translation here, but it seems to underline the authenticity of this lovely film set among dairy farms in the region near the Swiss alps known as the Jura. It is, famously, the home of comté cheese. The fatal car accident leaves Totone and his little sister alone to fend for themselves. This is difficult to imagine here, but at 18 years of age, Totone is indeed an adult. And the siblings have a home, after all, the family farm. Totone doesn't have much idea of how to manage it, but an awareness of the potential to make a good living gradually dawns on him. As the filmmaker grew up on a farm like Totone's, Holy Cow is informed by first-hand experience. The Jura is home for the filmmaker, writer-director Louise Courvoisier, and many of the other creatives involved. She brings an authentic sensibility for language and gesture along with a distinctive eye for the cinematic. Lead actor, Faveau, contributes an interesting mix of vulnerability and aggression to his character, just on the brink of manhood. He works on a poultry farm in real life. Other members of the cast are locals and first-time actors, while the musical score is a family affair. The beautiful original musical score that complements the landscapes and the life dramas played out on its foreground, was composed and performed by members of the Courvoisier family. With the vibrant exception of the Jimmie Rodgers song Kisses Sweeter Than Wine, heard over a montage of happy snaps of Totone and friends. The romantic sequence features Marie-Lise (Maiwene Barthelemy), the surly, independent young woman running a neighbouring farm, who becomes his lover. Their relationship doesn't begin at all well. Totone makes out with her while scheming with his mates how to steal her produce. Marie-Lise sends him packing when she realises the ruse, though there may be something between them still. A round slab of the semi-hard cheese delicacy could win its producer a prize of between 20,000 and 30,000 euros. After fisticuffs with other local lads gets Totone sacked from his cleaning job on a neighbouring farm, he makes it his mission to master making the nutty and complex flavours of comte cheese. Even little sister Claire, played by Luna Garret, looking wise beyond her years, knew he would get fired but she is there to help him when it matters. The narrative is book-ended with country fairs, events where the locals proudly display their wares and gather for a good time. Into the evening, young people can meet and even find matter-of-fact sex. It's all rather random. The closing attraction is a stock car race in which Jean-Yves (Mathis Bernard), Totone's recently estranged best friend, is participating with his clapped-out vehicle, ready to perform flips and outlast the competition. At least he has his beloved car back. Like the race of battered warriors of the road, youthful mishaps and mistakes get generous treatment in this lovely film that is a pleasure to watch. Was it outlandish ambition that brought Totone down to earth? Not in this distinctive and often joyous coming-of-age drama from the depths of rural France.
Sydney Morning Herald
a day ago
- Entertainment
- Sydney Morning Herald
Blunt and charming, this French film about cheese-making is filled with pride
HOLY COW ★★★ (M) 92 minutes The Franche-Comté region of France, near the Swiss border, is famed for its wheels of cheese, made by farmers who follow traditional methods – if you want to get into this business, you'd better be prepared to plunge your forearm into a copper boiler filled with scaldingly hot milk – and who have to meet an especially strict set of standards before they're allowed to use the Comté name. All this is laid out for us in Holy Cow, a first feature from writer-director Louise Courvoisier, who grew up in the region before leaving to attend film school. In one key moment, a cheese connoisseur samples a wedge and proclaims it's inedible for the moment and needs time to mature. There is, I'm afraid, a rather heavy-handed metaphor here. Listening in on the exchange is Totone (Clément Favreau), the film's 18-year-old hero, who has good intentions but is still going through a maturing process of his own. Visibly still more boy than man, he's forced to grow up especially fast after the sudden death of his father, which leaves him as the sole guardian of his young sister (Luna Garret). As a representative of French culture, Courvoisier has her own set of standards to maintain, seeking to combine a degree of raw realism with the kind of quaint charm that could appeal to tourists. There's an element of literal documentary in her approach, not just in the depiction of the cheese-making process but in scenes like one which shows the birth of a calf, and more generally in her use of non-professional actors whose awkwardness is part of their appeal.
The Age
a day ago
- Entertainment
- The Age
Blunt and charming, this French film about cheese-making is filled with pride
HOLY COW ★★★ (M) 92 minutes The Franche-Comté region of France, near the Swiss border, is famed for its wheels of cheese, made by farmers who follow traditional methods – if you want to get into this business, you'd better be prepared to plunge your forearm into a copper boiler filled with scaldingly hot milk – and who have to meet an especially strict set of standards before they're allowed to use the Comté name. All this is laid out for us in Holy Cow, a first feature from writer-director Louise Courvoisier, who grew up in the region before leaving to attend film school. In one key moment, a cheese connoisseur samples a wedge and proclaims it's inedible for the moment and needs time to mature. There is, I'm afraid, a rather heavy-handed metaphor here. Listening in on the exchange is Totone (Clément Favreau), the film's 18-year-old hero, who has good intentions but is still going through a maturing process of his own. Visibly still more boy than man, he's forced to grow up especially fast after the sudden death of his father, which leaves him as the sole guardian of his young sister (Luna Garret). As a representative of French culture, Courvoisier has her own set of standards to maintain, seeking to combine a degree of raw realism with the kind of quaint charm that could appeal to tourists. There's an element of literal documentary in her approach, not just in the depiction of the cheese-making process but in scenes like one which shows the birth of a calf, and more generally in her use of non-professional actors whose awkwardness is part of their appeal.
ABC News
2 days ago
- Entertainment
- ABC News
Helena Bonham Carter on Four Letters of Love + The Stolen Painting + Holy Cow
Screen legend Helena Bonham Carter on Four Letters of Love, where she stars opposite Pierce Brosnan in an adaptation of Niall Williams' 1997 novel about a couple pulled together by ghosts, fate and the power of love. Inspired by real events, acclaimed writer/director Pascal Bonitzer's sharp dramedy The Stolen Painting follows an auctioneer whose professional and personal integrity is challenged by the discovery of a long-lost masterpiece. French director Louise Courvoisier on her charming debut Holy Cow, in which teenager Totone's carefree life in the countryside takes a turn when he's suddenly left to provide for his young sister. CREDITS
Boston Globe
2 days ago
- Entertainment
- Boston Globe
The Boston French Film Festival returns to the MFA with a focus on authenticity
From romantic comedies to thrillers, Irving says the films showing at the festival have an 'emotional realism' that makes them affecting to audiences. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up This is especially true in the festival's opening film, 'Three Friends (Trois Amies),' a romantic comedy for adults that Irving calls 'a real treat.' The film comes from award-winning writer-director Emmanuel Mouret and revolves around three middle-aged women and their complex (and sometimes unwittingly overlapping) love lives. Irving says the film is thoughtful in its examination of complicated modern love, while still remaining lighthearted and energetic. Advertisement A scene from "Three Friends" by Emmanuel Mouret. Courtesy of the Museum of Fine Arts In the film, Mouret tells the story of what Americans (somewhat dismissively) call a mid-life crisis. But what Irving appreciates about 'Three Friends' is the tone it uses to tackle the notion of reinventing yourself in your 40s. 'What's very French about this film is that it treats midlife-questioning as a serious philosophical quandary,' Irving says. 'These complex ideas are not something to gloss over or make fun of.' Advertisement One of Irving's favorite films in the festival, 'Holy Cow (Vingt Dieux),' is a refreshing and scrappy coming-of-age comedy. The film follows 18-year-old Totone (Clément Faveau), who unexpectedly finds himself juggling the responsibilities of managing his struggling family farm and caring for his 7-year-old sister after his father's untimely death. To secure his future, Totone enters a regional Comté cheesemaking contest. The film won the Youth Award at the Cannes Film Festival in 2024. 'Holy Cow' is set and filmed in Jura, a rural agricultural region in eastern France, where director Louise Courvoisier grew up. Courvoisier cast only non-professional actors from the region; she found Faveau working at a poultry farm and attending agricultural high school. 'Its really fun, but it's also eye-opening,' says Irving, who also pointed to the real-life feel of the characters and cinematography as particular strengths of the film. Irving also highlighted ' 'Souleymane's Story' won two awards at the Cannes Film Festival in 2024, including for Best Actor for Sangare's break-out role, and the Jury Prize. Advertisement Irving says the film aligns with a new trend in French cinema: realistic thrillers about ordinary people racing against time. 'The intensity is even higher because the stakes feel authentic,' she says. 'It feels like something that could happen to you.' Abou Sangare as Souleymane in "Souleymane's Story" by writer-director Boris Lojkine. Courtesy of the Museum of Fine Arts Thought-provoking subject matter seems to be the theme of this year's festival. 'We're starting to turn to movies to numb ourselves and turn off our brains,' Irving says. 'Which is good to indulge [in] sometimes.' But she wants the festival to be a break from ethos of film acting solely as an escape. 'You have to balance that with things that will actually nourish you,' Irving says. This year's featured films, she hopes, will do just that. THE BOSTON FRENCH FILM FESTIVAL July 25 through Aug. 24 at the Museum of Fine Arts. For more information, including screening times, visit
