Tag Archives: Honorary Golden Bear

Honorary Golden Bear for Isabelle Huppert at the upcoming 2022 Berlinale

Posted by Larry Gleeson

The Homage section of the 72nd Berlin International Film Festival will be dedicated to French film and stage actor Isabelle Huppert, who will be awarded an Honorary Golden Bear for lifetime achievement. In conjunction with the Award Ceremony on February 15, 2022, at the Berlinale Palast, the festival will screen as a Berlinale Special Gala À propos de Joan (About Joan, dir: Laurent Larivière). Huppert is often seen as one of the most versatile actors in the world and has played an impressive range of characters in almost 150 cinema and television productions.

Isabelle Huppert has been closely linked with the film festival for many years and has starred in seven Competition films to date. She was first a guest in Berlin with La vengeance d’une femme (A Woman’s Revenge, dir: Jacques Doillon). Director François Ozon cast her in his dark musical comedy 8 Femmes (8 Women) as an unprepossessing woman who emerges in the end as a confident beauty. The ensemble cast was awarded a Silver Bear for outstanding artistic accomplishment. In L’Avenir (Things to Come), she also plays a woman re-discovering her freedom as a philosophy teacher in a failing marriage. Director Mia Hansen-Løve won the Silver Bear as Best Director for the film.


Berlinale directors Carlo Chatrian, left, and Mariette Rissenbeek

“We are proud to welcome Isabelle Huppert back to the festival,” say Berlinale directors Mariette and Carlo Chatrian, “the Honorary Golden Bear may seem like a natural progression in a career without equal since Isabelle Huppert is one of the few artists recognized with acting awards at all major film festivals. But Isabelle Huppert is more than a celebrated actor — she is an uncompromising artist who doesn’t hesitate to take risks and flout mainstream trends. Awarding her our most prestigious prize is to accentuate cinema as an art form, independent and unconditional. We often see actors as tools in the hands of filmmakers, but Isabelle Huppert is a clear example that the dynamic can be a true exchange. Actors can be the true engine of creating not only emotions but also concepts of cinema.”


Isabelle Huppert (Photo cr. Phillip Gay/Berlinale)


Isabelle Huppert began studying acting at the age of 14, and later attended the Conservatoire nationale supérieur d’art dramatique in Paris.

She began her career on stage and made her screen debut with Faustine et le bel été (Faustine and the Beautiful Summer, dir: Nina Companeez). Huppert’s first appearance in an international production was in the film Rosebud (dir: Otto Preminger). Two years later, her starring performance as the shy young woman Béatrice in Claude Goretta’s La Dentellière (The Lacemaker) won her the BAFTA as Most Promising Newcomer.

Huppert early on came to the attention of a host of top filmmakers, such as Jean-Luc Godard and Bertrand Tavernier. Her first turn for Godard was as the star of his Sauve qui peut (la vie) (Every Man for Himself). Other world-renowned directors soon seized on Huppert’s diverse acting talents, including Olivier Assayas, Catherine Breillat, Patrice Chéreau, Claire Denis, Andrzej Wajda, and Joachim Trier, as well as American filmmakers such as Curtis Hanson, Hal Hartley, Ira Sachs, and David O. Russell. Italian filmmakers Paolo and Vittorio Taviani gave her the lead in their film Le affinità elettive (Elective Affinities) and she was part of the ensemble in Marco Bellocchio’s Bella Addormentata (Dormant Beauty).

Acclaimed French director Claude Chabrol cast Isabelle Huppert in a total of seven films, with each character as mutable and complex as the next, beginning with the title role in Violette Nozière. That garnered her first Palme D’Or for Best Actress at the Cannes film festival. Huppert and Sandrine Bonnaire played a pair of homicidal friends in the director’s La Cérémonie, a role that won her a César. Huppert’s final collaboration with Chabrol was her complex portrayal of a powerful judge in L’ivresse du pouvoir (Comedy of Power), which premiered in Competition at the Berlinale.

The actor’s film career has also been shaped by her work with Austrian director Michael Haneke, with whom she has made four movies. Her outstanding lead performance in his controversial 2001 drama La Pianiste (The Piano Teacher) brought her accolades as Best Actress in Cannes and at the European Film Awards, among others. Beginning with her appearance in Brillante Mendoza’s Captive, shown in Competition in Berlin, Huppert has increasingly worked with Asian directors. That same year, she was in Hong Sang-soo’s Da-reun na-ra-e-seo (In Another Country), playing three different women who all have the same name.

Huppert has also made successful films with other German-language directors and actors. She appeared alongside Hanna Schygulla in Storia di Piera (The Story of Piera) directed by Marco Ferreri. And she took on the lead as the nameless writer who increasingly loses touch with reality in the film adaptation of Ingeborg Bachmann’s Malina (dir: Werner Schroeter), winning the German Film Prize. She was top-billed in Swiss director Ursula Meier’s Home.

Isabelle Huppert has been nominated for the French film prize César more than any other actress in France and has twice won one. Her virtuoso acting style has also brought her two Palmes D’Or at Cannes. She has appeared in more than 20 films shown in competition there — yet another record. She won a Golden Globe as Best Actress for her work in the thriller Elle (dir: Paul Verhoeven). That role as a successful businesswoman who takes revenge on her rapist also resulted in her first Academy Award nomination.

In addition to her successful onscreen career, Isabelle Huppert also continues working on stage and has been awarded the Europe Theater Prize, among others. After premiering the French version of Orlando, she took to the stage under Robert Wilson’s direction once again as the glacial marchioness Merteuil in Heiner Müller’s Quartett. She was equally brilliant in Sarah Kane’s play 4.48 Psychosis staged by Claude Régy. Guest performance of that play in Berlin marked the first time that Huppert appeared on a German stage, entrancing audiences with her intense portrayal.

The French-German-Irish co-production À propos de Joan (About Joan) directed by Laurent Larivière, which stars Huppert alongside Lars Eidinger, will be released in Germany in 2022.

The Homage films:

La Dentellière (The Lacemaker), France / FRG / Switzerland, 1977, Claude Goretta
Sauve qui peut (la vie) (Every Man for Himself), France / Switzerland / FRG / Austria, 1980, Jean-Luc Godard
La Cérémonie, France / Germany, 1995, Claude Chabrol
La Pianiste (The Piano Teacher), France / Austria / Germany, 2001, Michael Haneke
8 Femmes (8 Women), France / Italy, 2002, François Ozon
L’Avenir (Things to Come), France / Germany, 2016, Mia Hansen-Løve
Elle, France / Germany / Belgium, 2016, Paul Verhoeven

The Homage is mounted under the aegis of the Deutsche Kinemathek.

(Sourced from Berlinale Press Release)



An Honorary Golden Bear and Homage for Oscar-winner Milena Canonero

Posted by Larry Gleeson


The Homage of the 67th Berlin International Film Festival is dedicated to Italian costume designer Milena Canonero, who will also receive an Honorary Golden Bear for her lifetime achievement.


Milena Canonero is one of the world’s most celebrated costume designers. She has worked with a long list of directors, including Stanley Kubrick, Francis Ford Coppola, Sydney Pollack, Warren Beatty, Roman Polanski, Steven Soderbergh, Louis Malle, Tony Scott, Barbet Schroeder, Sofia Coppola, and Wes Anderson. Over the years she has won four Academy Awards for her outstanding costume designs and has been nominated five other times.

Berlinale-“Milena Canonero is an extraordinary costume designer. With her designs she has contributed decisively to the style of many cinematic masterpieces. With this year’s Homage, we would like to honour a great artist as well as direct attention to another film profession,” says Berlinale Director Dieter Kosslick.

Milena Canonero’s designs result from extensive art historical research and sophisticated concepts. She never just adopts parameters from fashion history but adapts them creatively for each movie. In doing so she excels not only in the art of subtly accentuating a character’s personality but also in enhancing the texture of a film through very detailed and original designs. Her creations have influenced global fashion trends and inspired fashion designers such as Alexander McQueen and Ralph Lauren.

Right at the beginning of her career Canonero met Stanley Kubrick and it was for his film A Clockwork Orange (United Kingdom / USA 1971) that she designed her first film costumes. With them white lost its innocence and set a new benchmark for costume design. Already with her second work for Kubrick, Barry Lyndon (United Kingdom / USA 1975), she took home her first Academy Award for Best Costume Design (shared with Ulla-Britt Söderlund).

Next came Kubrick’s The Shining (United Kingdom / USA 1980) and Hugh Hudson’s Chariots of Fire (United Kingdom 1981), for which she received her second Academy Award, as well as Francis Ford Coppola’s The Cotton Club (USA 1984) and Sydney Pollack’s Out of Africa (United Kingdom / USA 1985).

For Francis Ford Coppola’s The Godfather Part III (USA 1990), Milena Canonero took inspiration from the painters of the Renaissance. She made use of both subdued dark hues and striking colour compositions. In the same year, Warren Beatty’s Dick Tracy (USA 1990) was completed. For it Canonero drew on classic cuts from 1930s fashion, while referencing the original comic strip by choosing clear bright colours for the fabrics of the costumes. She limited herself to the three primary colours, plus black and white, as well as five mixed colours – and used them consistently throughout the film for all the costumes and accessories.

For Barbet Schroeder’s Single White Female (USA 1992), Milena Canonero was not only responsible for the costumes, but also for the production design. Later she received her third Academy Award for the pastel and candy-coloured garments in Sofia Coppola’s Marie Antoinette (France / Japan / USA 2006).

In past years Milena Canonero has participated in the Berlinale with two films directed by Wes Anderson – The Life Aquatic with Steve Zissou (USA 2004) and The Grand Budapest Hotel (USA / Germany 2014). For her extraordinary purple and mauve hotel staff uniforms, and the fanciful design of Madame D.’s gown from The Grand Budapest Hotel, Milena Canonero won her fourth Academy Award for Best Costume Design.

Rainer Rother, Head of the Retrospective and Homage and Artistic Director of the Deutsche Kinemathek (Photo via berlinale.de)

“What is also so impressive about Milena Canonero is the versatility of her artistic interests. Her costume designs for productions at the Metropolitan Opera in New York, La Scala in Milan, and the Vienna State Opera, as well as for Roman Polanski’s stage adaptation of Amadeus have brought her international recognition and success too,” comments Rainer Rother, Head of the Retrospective and Homage and Artistic Director of the Deutsche Kinemathek.

In addition Milena Canonero recently co-produced the film Romeo & Juliet (United Kingdom / Italy / Switzerland 2013) by Carlo Carlei, and finished directing her first commercial. Currently she is developing a documentary about the costume and production designer Piero Tosi.

The presentation of the Honorary Golden Bear at the Berlinale Palast on February 16, 2017 will be accompanied by a screening of the film The Shining (United Kingdom / USA 1980) by Stanley Kubrick.


The ten films in the Homage are:

Barry Lyndon (United Kingdom / USA 1975, director: Stanley Kubrick)
Chariots of Fire (United Kingdom 1981, director: Hugh Hudson)
A Clockwork Orange (United Kingdom / USA 1971, director: Stanley Kubrick)
The Cotton Club (USA 1984, director: Francis Ford Coppola)
Dick Tracy (USA 1990, director: Warren Beatty)
The Godfather. Part III (USA 1990, director: Francis Ford Coppola)
The Grand Budapest Hotel (USA / Germany 2014, director: Wes Anderson)
Marie Antoinette (France / Japan / USA 2006, director: Sofia Coppola)
Out of Africa (United Kingdom / USA 1985, director: Sydney Pollack)
The Shining (United Kingdom / USA 1980, director: Stanley Kubrick)


(Source: Berlinale Press Office)