It's Isabelle Huppert's year that unrolls on the red carpet at Cannes where she has come for two films in the official competition: Hong Sang-soo's Claire’s Camera and Michael Haneke’s Happy End. And there’s no reason why it should end, since film after film and each one different from the other, she writes her own story in cinema and imposes her presence, both strong and discreet, which world cinema can not do with out. With her many roles she has drawn the portrait of leading women who struggle for their freedom, of which, in her own words, one can not detach a feeling of vulnerability. For this third edition, Isabelle Huppert perfectly embodies the image of Women in Motion, because she is a woman in motion, always by both principle and conviction. To the question: "Do you feel like a role model for American women and actresses in particular? " She answers instantly: "For men too! What American actresses look for in my work is also a form of freedom and curiosity that is less frequent in the United States. There, the difficulty for women to make films and to exist in the film industry is expressed with much more obsession and violence than here!” Even though she is in the spotlight, she knows where the women in the shadows lie, the women producers who fight in France as well as in the United States: "Some of them run studios and they are very courageous and enterprising women." There is no highway for women who want to make cinema: "But having to take the alternative paths can give more freedom," she says. And on her life as a woman that is never very far from Isabelle Huppert, she answers: "I’ve managed to be a little more myself and it is not so easy, especially as an actress.”
Isabelle Huppert's biography
A Cinema icon, Isabelle Huppert emerged, from the beginning of her acting career, as a leading name, working with some of the French film industry’s greatest directors such as Jean-Luc Godard, Maurice Pialat, Claude Sautet, Bertrand Blier, and André Téchiné. Under the direction of Claude Chabrol she played the role of Violette Nozière in the eponymous film which quickly earned her recognition at the Festival de Cannes. A globally-acclaimed French actress, her international career was launched with Michael Cimino’s Heaven’s Gate. Isabelle Huppert then went on to work with directors from all over the world, including Austrian director - Michael Haneke, the South Korean director - Hong Sang-soo, American directors - Curtis Hanson et David Owen Russell, Italian directors - Marco Ferreri and Marco Bellocchio, and Dutch director - Paul Verhoeven. Isabelle Huppert continued to work with major French directors, both male and female, such as Jacques Doillon (A Woman’s Revenge), François Ozon (8 Women), Christophe Honoré (My Mother), Patrice Chéreau (Gabrielle), Mia Hansen-Løve (Things to Come), Claire Denis (White Material) and Catherine Breillat (Abuse of Weakness). She achieved a record by having played in over twenty films selected at the Cannes Film Festival, and has won twice the award for Best Actress (for Violette Nozière by Claude Chabrol and The Piano Teacher by Michael Haneke). While already having won multiple awards around the world, Isabelle Huppert received an Oscar nomination in the Best Actress category for Elle by Paul Verhoeven. Her performance in this role also won her a second César award and a Golden Globe. After having been a member of the jury at the Festival de Cannes she was also once its President. With an already impressive filmography, this year she is competing at the Festival with two films in the Official Selection: Happy End by Michael Haneke and Claire’s Camera by Hong Sang-soo. Alongside her film career, Isabelle Huppert regularly performs in some of the world’s greatest theatres, acting in major plays such as Measure for Measure by William Shakespeare (Peter Zadek), Orlando by Virginia Woolf (Bob Wilson), Medea by Euripides (Jacques Lassalle), Quartet by Heiner Müller (Bob Wilson), False Secrets by Marivaux (Luc Bondy) and Phaedra(s) (Krzysztof Warlikowski).
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