By Ray Pride



FOR IMMEDIATE RELEASE – New York, NY (April 7, 2014) – Distrib Films announced today that it has acquired all  U.S. rights to master director Philippe Garrel’s JEALOUSY starring Louis Garrel (LOVE SONGS), Anna Mouglalis (COCO CHANEL & IGOR STRAVINSKY), Rebecca Conevant, Olga Milshtein and Esther Garrel.  It was written by Philippe Garrel, Caroline Deruas, Marc Cholodenko and Arlette Langmann and produced by Saïd Ben Saïd of SBS Productions.  The film premiered in competition at the Venice Film Festival and screened at the New York Film Festival earning strong reviews.  A summer theatrical release is planned.

For his 24th film, Garrel teamed up with the great cinematographer Willy Kurant (Godard’s MASCULINE FEMININE) and shot this fresh and vigorous look at the titular subject in glorious black and white.  Louis (Louis Garrel) leaves his wife Clothilde (Rebecca Convenant) and daughter Charlotte (Olga Milshtein) for a theater actress Claudia (Anna Mouglalis).  Though she can’t get any work and they struggle to make money, their passion carries them through.  However, it’s not long before the outside world creeps back in.  Like the best of his films, JEALOUSY revisit Garrel’s trademark themes of loss, mourning and rejuvenation through love.

The deal for JEALOUSY was negotiated by François Scippa-Kohn, President of Distrib Films and Carole Baraton, Head of Sales for Wild Bunch.

Françoise Scippa-Kohn said, “Philippe Garrel is one of the world’s great filmmakers.  JEALOUSY is not only one of his most beautiful films but also his most accessible.  We hope we can make this his most successful film in America ever.”


Distrib Films is a Paris-based company specializing in the theatrical distribution of French art house films and documentaries in the United States.  Past releases include Philippe Béziat’s BECOMING TRAVIATA and Joachim Lafosse’s OUR CHILDREN.  Upcoming and current releases include Jerome Bonnell’s JUST A SIGH starring Gabriel Byrne and Pascal Plisson’s ON THE WAY TO SCHOOL, which won the 2014 César for Best Documentary.



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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon