Non-Fiction 2018

Doubles vies

Directed by Olivier Assayas World

The murky line between reality and fiction goes under the microscope – and the sheets – in Olivier Assayas’s chatty, up-to-the minute treatment of the French literary world, with Juliette Binoche and Guillaume Canet.

Jul 27

Penthouse Cinema

Jul 28
Sold Out

Light House Petone

Jul 29

Penthouse Cinema

Jul 30

Embassy Theatre

Aug 09

Embassy Theatre

France In French with English subtitles
107 minutes DCP
M
offensive language & nudity

Director/Screenplay

Producer

Charles Gillibert

Photography

Yorick Le Saux

Editor

Simon Jacquet

Production designer

François-Renaud Labarthe

Costume designer

Jürgen Doering

With

Guillaume Canet (Alain)
,
Juliette Binoche (Selena)
,
Vincent Macaigne (Léonard)
,
Nora Hamzawi (Valérie)
,
Christa Théret (Laure)
,
Pascal Greggory (Marc-Antoine)

Festivals

Venice
,
Toronto
,
New York
,
London 2018

Elsewhere

Long-time festival favourite Olivier Assayas (Cold Water, Summer Hours) takes on the contemporary publishing industry in this free-flowing and quintessential French comedy, which puts a new spin on an age-old question: where is the line between truth and fiction?

In this affectionate and knowing portrait of the Parisian intellectual class, publishers and authors debate the literary merits of the tweet, consider the future of the e-book, and – naturally – sleep with people they shouldn’t. The latter is particularly ripe material for struggling mid-career writer Léonard (a gloriously unkempt Vincent Macaigne), but his publisher Alain (Guillaume Canet) is tired of Léonard’s auto-fiction. Meanwhile, Léonard’s unwilling subjects begin to assert their own autonomy.

The French title, which translates to ‘double lives’, is particularly fitting for Alain’s actress wife Selena (Juliette Binoche, reuniting with Assayas after her powerhouse turn in Clouds of Sils Maria). Fed up with being a TV cop – excuse us, ‘crisis management expert’ – she provides Non-Fiction with both its biggest laughs and its rawest emotion.

“Assayas crafts films of marvelous depths, simultaneously cinematic and literary in the richness of their pleasures... Only actors of the caliber and intelligence of Canet and Binoche can toss off their sparring lines with the ease and conviction of stimulating dinner-party conversations, conveying warmth, brains and fallibility in equal measure: you want to join in the discussion around the table, hoping you can keep up.” — Jay Weissberg, Variety