Latest news with #French-Armenian
Yahoo
20-05-2025
- Entertainment
- Yahoo
Tahar Rahim on Metamorphosing and Shedding 44 Pounds for Julia Ducournau's ‘Alpha': ‘That State of Deprivation Transports You in a Spiritual Dimension' (EXCLUSIVE)
In the space of two years, French actor Tahar Rahim has transformed himself completely to inhabit a pair of drastically different characters, the iconic French-Armenian crooner Charles Aznavour, and Amine, a man engulfed in drug addiction who is dying of a mysterious disease. The latter performance is the force behind Julia Ducournau's allegorical drama 'Alpha' which world premiered at the Cannes Film Festival on Monday evening and earned an 11-minute standing ovation. More from Variety Jodie Foster Embraces 'Vie Privée' Director as French Murder Mystery Gets 8-Minute Cannes Standing Ovation 'Private Life' Review: Fluent in French, Jodie Foster Steers an Upscale, Paris-Set Psychological Thriller Guillermo Galoe Unpacks His Insider's Vision of a Family Riven by Its Shanty Town's Demolition in Critics' Week's 'Sleepless City' Rahim, who saw his career explode 16 years after a breakthrough performance in Jacques Audiard's Cannes prizewinning thriller 'A Prophet,' had transformed himself before, notably in 'The Serpent,' starring as the merciless serial killer Charles Sobhraj. But in 'Alpha,' he went to the extreme, losing 20 kilos (44 pounds) for the part, so that he could relate to his onscreen character, Amine, on an emotional level, as well as physical. 'Julia didn't ask me to go that far, but she needed authenticity,' says Rahim, who stars in the movie alongside Iranian actor Golshifteh Farahani and emerging talent Melissa Boros. 'When I took on the role, I knew that in order to make it real and organic, it had to go through this physical process,' he says with a striking conviction, sitting at the poolside bar of the Majestic Hotel just a couple hours after landing in his first interview discussing the film. It took him three-and-a-half months to shed the weight, a timeframe during which he found the strength to promote 'Monsieur Azanavour,' Mehdi Idir and Grand Corps Malade's biopic. That role of Aznavour, which required him to learn how to sing, speak and move completely differently, ultimately earned him this year's Cesar nomination for best actor. The movie, which like 'Alpha,' was produced by Eric and Nicolas Altmayer, and Jean-Rachid Kallouche, also became one of 2024's biggest local hits with over 2 million tickets sold. While playing Aznavour represented a daunting challenge for Rahim, the experience of making 'Alpha' turned out to be the most spiritual in his career. 'When you get into that kind of state of deprivation,' he says, 'it transports you to a place, a kind of spiritual dimension where you're connected, for me it was with God, because I'm a believer, and with creation.' The movie, which is set in a fictive city, shot in Le Havre, which allowed him to stay in character – something that would have been hard to pull off with his four kids and wife, actor Leila Bekhti, in Paris. 'I had a room facing the ocean and I've never felt the elements so strongly, never felt the wind and the water in front of me so intensely. Everything was much clearer and more striking,' he says. Becoming Amine led him develop a form of addiction and a ritual, which came to him in the unlikely form of pistachios and cherry tomatoes. 'I was on a very strict diet but I was allowed to eat cherry tomatoes and pistachios in certain quantities at a certain time in the evening,' he says, with a laugher. 'When I found myself once or twice without any left, I took my scooter and rode around town at night to get my fix.' Asked if he would ever consider relying on AI or post-production tools to look the part instead of inflicting himself such an ordeal, Rahim is categorical: 'Never in a million years. It'll mess with your head. I'll never rely on things like that.' The actor also volunteered for an association called Gaia that helps marginalized people, including those suffering from additions. The actor says he was mentored by two men who explained to him the sensations induced by drugs, and also allowed him to observe them during their 'rituals.' 'I was able to observe them, to pick up things on the fly, expressions, a way of speaking, a way of moving and everything. All of that built that part of the character,' he says. 'Then you have to fully immerse yourself in the director's world to bring that cinematic touch and emotion that allows you to stray, come back and invent things,' explains Rahim, who served on the Cannes jury in 2021. Just like he was struck by Ducournau's empathy and non-jugement towards Amine's character which emanated from the script of 'Alpha,' he was touched by the work of Gaia. 'It offers these vulnerable people a place where they are listened to, where they exist, because they are clearly ghosts on the streets, they're sick and none of them wanted to end up there,' he says. He also formed a deep bond with Ducournau almost instantly when they started working on the film. 'It had never happened to me before,' he says. 'Something magical happened on day one. First day of shooting, first sequence, first take,' Rahim says. 'I think you only really get to know a director on the first day of shooting.' 'A working relationship like that is very rare, and when it happens, it really gives you wings,' he continues. The script of 'Alpha' compelled him, he said, because 'it's a family story,' but one 'with a certain visual codes of genre films.'They're Julia's codes, which are very recognizable from her other work and that's what makes her such a great filmmaker,' he says. But Rahim says Amine is way more than an addict, he's a 'fallen angel who's had his wings cut off.' And yet, he 'still has a mission,' which for the actor is 'about freeing Alpha,' who is a teenager coming of age in the second half of the film. 'They free each other and also Alpha's mother who's ridden by guilt, fears and grief and gradually learns how to let go — it's got so many layers,' he says. Ducournau and Rahim discovered they were similar in more than one way, including when it comes to the way they tackle work. 'Like her, I'm almost obsessive when I work,' Rahim admits. The other thing they have in common, he says, is 'the way she approaches her her films. 'It's in the same way that I approach my characters; there's really something physical and bodily about it. I need to go through the body to get into the head.' Rahim credits New Hollywood icons of the 1960's and 1970's such as Robert de Niro, Dustin Hoffman, Al Pacino, Gene Hackman and Marlon Brando, as well as British actor Daniel Day Lewis, for inspiring him to become an actor and continuing him to have an impact on him today. That passion for American cinema led him to become one of the rare French actors to have been leading a truly international career from the start, working with foreign directors such Ang Lee, Asghar Farhadi, Damien Chazelle and Kevin Macdonald, among others. His role in 'The Mauritanian' earned him a BAFTA and Golden Globe nominations, among other critical nods in 2021. A year later, he got a second Golden Globe nomination for his part in 'The Serpent.' The actor, who is currently filming 'Prisoner,' directed by 'Bridge of Spies' screenwriter Matt Charman, in Wales, says working often in the U.S. and in the U.K. has taught him to approach work in a different way 'because it's not the same culture, it's not the same budget, it's not the same mythology,' he says. He says he's realized that he's been able to 'get into my characters very quickly.' He credits 'shooting series' for being 'very formative because you don't have time so there are very few takes, you have to move quickly.' Then, his favorite thing on set is what he calls his 'freestyle.' 'Once the director is happy with what he's got, once we've explored everything and it works in every way, then I can let go of everything and we try things,' he says. 'It allows me not only to suggest a new take, but also to return to the essence of my profession, which is fun because it's recreation for grown-ups. I'm a big kid,' he jokes. After 'Prisoner,' Rahim will play Inspector Javert in Fred Cavayé's adaptation of 'Les Miserables,' starring opposite Vincent Lindon who will star as Jean Valjean. The actor says he film will have thriller elements, exploring the confrontation between Javert and Valjean, while being a proper adaptation of 'Les Miserables.' 'There are seeds planted in the novel that are sometimes under-exploited, from which we can grow different flowers that haven't been seen yet, in a way,' he says, adding that he's been talking about the project and his role at length with Cavayé. 'I always need to talk to my directors the way I did with Julia or Fred, because the cool thing about a script is that it's the first form of a film,' he says. 'It's destined to be enhanced on screen, so it's still alive, it's still moving, and we can constantly improve it or give it a different color, a different texture, along the way.' Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
See - Sada Elbalad
20-05-2025
- Entertainment
- See - Sada Elbalad
Egyptian Amb. to Armenia Highlights Cultural Ties Through Francophonie Celebrations
Nada Mustafa As part of Francophonie celebrations in Armenia, Serenade Gamil, Ambassador of Egypt to Armenia, organized a series of cultural events aimed at strengthening bilateral ties through arts and literature. A key highlight was a lecture titled 'Aznavour: An Egyptian Passion' delivered by renowned Egyptian writer and historian Dr. Ahmed Youssef at the Charles Aznavour Foundation in Yerevan. The event explored the deep cultural connections between Egypt and the legendary French-Armenian singer, Charles Aznavour. In another academic initiative, Gamil partnered with Haybusak University in Yerevan to host a special presentation of Dr. Youssef's latest book 'Bonaparte.' During his lecture, Dr. Youssef shed light on the historical presence of the Armenian community in Egypt, notably praising Nubar Pasha, the first Prime Minister of Egypt in the 19th century, for his significant contributions. For her part, Gamil emphasized the importance of strengthening cultural cooperation between Egypt and Armenia, noting that such exchanges enrich mutual understanding and celebrate shared heritage. It is worth mentioning that, Charles Aznavour Foundation, established by Charles Aznavour and his son Nicolas Aznavour, aims to carry forward the humanitarian legacy of the legendary artist. The foundation develops and supports a wide range of educational, cultural, social, and national initiatives both in Armenia and internationally. Egyptian Ambassador to Armenia read more Gold prices rise, 21 Karat at EGP 3685 NATO's Role in Israeli-Palestinian Conflict US Expresses 'Strong Opposition' to New Turkish Military Operation in Syria Shoukry Meets Director-General of FAO Lavrov: confrontation bet. nuclear powers must be avoided News Iran Summons French Ambassador over Foreign Minister Remarks News Aboul Gheit Condemns Israeli Escalation in West Bank News Greek PM: Athens Plays Key Role in Improving Energy Security in Region News One Person Injured in Explosion at Ukrainian Embassy in Madrid News Egypt confirms denial of airspace access to US B-52 bombers News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies
The Advertiser
09-05-2025
- Entertainment
- The Advertiser
Monsieur Aznavour: intriguing portrait of legendary French crooner
Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner.
