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|Also Known As:||Died:|
|Born:||March 9, 1964||Cause of Death:|
|Birth Place:||Paris, FR||Profession:||actor, cashier|
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Best Actress CÃ©sar nomination in Patrice Leconteâ¿¿s period drama "La veuve de Saint-Pierre" ("The Widow of Saint-Pierre") (2000), as a morally courageous wife trying to reform and save the life of a convict. She returned to prominence in the English-speaking world with the hit "Chocolat" (2000), as an itinerant candy maker who has a magical effect on the residents of a sleepy village, as well as romances gypsy Johnny Depp along the way. For her charming turn in the crowd-pleaser, Binoche picked up nominations for a Best Actress Oscar, a BAFTA Award and a Golden Globe.She added to her unbelievably impressive Best Actress CÃ©sar nomination collection with a nod opposite Jean Reno in the delightful romantic comedy, "DÃ©calage Horaire" ("Jet Lag") (2003), playing an extroverted beautician who finds unexpected romance en route to a seasonal job at a Mexican resort. Binoche then starred as a South African poet butting heads with an American reporter (Samuel L. Jackson) in John Boormanâ¿¿s romantic drama, "In My Country" (2005), but the film â¿¿ and surprisingly, Binoche â¿¿ received poor reviews. She was roundly praised for the otherwise disappointing adaptation of the best-selling book "Bee Season"...
Best Actress CÃ©sar nomination in Patrice Leconteâ¿¿s period drama "La veuve de Saint-Pierre" ("The Widow of Saint-Pierre") (2000), as a morally courageous wife trying to reform and save the life of a convict. She returned to prominence in the English-speaking world with the hit "Chocolat" (2000), as an itinerant candy maker who has a magical effect on the residents of a sleepy village, as well as romances gypsy Johnny Depp along the way. For her charming turn in the crowd-pleaser, Binoche picked up nominations for a Best Actress Oscar, a BAFTA Award and a Golden Globe.
She added to her unbelievably impressive Best Actress CÃ©sar nomination collection with a nod opposite Jean Reno in the delightful romantic comedy, "DÃ©calage Horaire" ("Jet Lag") (2003), playing an extroverted beautician who finds unexpected romance en route to a seasonal job at a Mexican resort. Binoche then starred as a South African poet butting heads with an American reporter (Samuel L. Jackson) in John Boormanâ¿¿s romantic drama, "In My Country" (2005), but the film â¿¿ and surprisingly, Binoche â¿¿ received poor reviews. She was roundly praised for the otherwise disappointing adaptation of the best-selling book "Bee Season" (2005), as the dissatisfied scientist mother of a spelling bee champ and wife of a Jewish religious studies professor (Richard Gere). She next received a European Film Award Best Actress nomination for the psychological thriller "CachÃ©" ("Hidden") (2005) and played a widowed Muslim seamstress in the underwhelming "Breaking and Entering" (2006) for Anthony Minghella, a film remarkable for its scenes of parkour â¿¿ a French-created system of urban acrobatics â¿¿ and for Binocheâ¿¿s British Independent Film Award nominated performance. She also appeared in a segment of the cinematic valentine to the city of lights, "Paris, je tâ¿¿aime" ("Paris, I Love You") (2006) and in the 9/11-fantasy-thriller, "Quelques jours en septembre" ("A Few Days in September") (2006). Off-screen, Binoche drew some fire for some comments questioning the U.S. governmentâ¿¿s knowledge of those events.
English-speaking audiences â¿¿ especially Americans â¿¿ got to see Binoche back in the multiplexes the following year when she played the romantic lead opposite Steve Carell in the comedy hit "Dan in Real Life" (2007). She followed up her success in that crowd-pleasing romance with a return to the dramatic roles with which she made her name, getting good reviews in both the French/Italian/Israeli collaboration "DÃ©sengagement" ("Disengagement") (2007) and "Le voyage du ballon rouge" ("Flight of the Red Balloon") (2008), a film shortlisted across the board as one of the yearâ¿¿s best films. Her golden professional touch continued with well received turns in the Altman-inspired, multi-character piece "Paris" (2008) and the follow up to "Red Balloon," "Lâ¿¿Heure dâ¿¿Ã©tÃ©" ("Summer Hours") (2008). Binoche continued to dazzle on all fronts, surprising the world by staging and performing a dance piece in 11 countries called "in-i" with dancer-choreographer Akram Khan; publishing both a bilingual volume of poems about the directors with whom she collaborated and a collection of her portraits; as well as mounting a major exhibition of her paintings.
In terms of her film career, Binocheâ¿¿s international reputation and interest in global cinema led to the next phase of her career, when she joined artistic forces with Iranian filmmaker Abbas Kiarostami. Appearing briefly with a headscarf and no makeup in his "Shirin" (2008), an experimental film focusing on the faces of women watching an unseen movie, Binoche went on to work with the master filmmaker on "Copie conforme" ("Certified Copy") (2010). Set in Tuscany, the film followed Binoche as a French art gallery owner and a man she just met pretending to be a long-married couple. Binoche won some of the greatest plaudits of her career for her comedic and dramatic tour de force, receiving the Best Actress Award at the Cannes Film Festival. Binocheâ¿¿s subsequent activism â¿¿ breaking down in tears at the filmâ¿¿s Cannes press conference when hearing that imprisoned Iranian dissident filmmaker Jafar Panahi had begun a hunger strike; paying tribute to him in her acceptance speech â¿¿ placed her at the forefront of discussions of that culture, and played a role in securing Panahiâ¿¿s release.al relationship with a politician â¿¿ who happens to be the father of her fiancÃ© â¿¿ in "Damage" (1992). Although the film itself received mixed reviews, the filmâ¿¿s acting was widely praised, with Binoche racking up another Best Actress CÃ©sar nomination and holding her own against powerhouse co-stars Jeremy Irons and Miranda Richardson. She then tackled the roles of both mother (Catherine Earnshaw) and daughter (Cathy Linton) in "Emily BrontÃ«â¿¿s Wuthering Heights" (1992). With Ralph Fiennes as the tormented Heathcliff and controversial singer SinÃ©ad Oâ¿¿Connor in a framing device as the narrating BrontÃ«, the movie was notable for being the first film adaptation of the classic novel to present the entire plot, but the project received mixed reviews.
The already-beloved Binoche had an artistic breakthrough, however, including a Best Actress trophy at the Venice Film Festival, her first actual Best Actress CÃ©sar Award and a Golden Globe nomination for her work as a wife and mother coping with the aftermath of a tragic accident in "Trois couleurs: Bleu" ("Blue") (1993), the first installment of Polish director Krzysztof KieÅ¿lowski's French trilogy. The actress would reprise the role in the other parts of the triptych: 1994's "Trois couleurs: Blanc" ("White") and "Trois couleurs: Rouge" ("Red"). Because of her commitments, she pulled out of the role Laura Dern took in "Jurassic Park" (1993), and gave birth that year to her son with professional scuba diver AndrÃ© Halle. Binoche earned another Best Actress CÃ©sar nomination for Jean-Paul Rappeneau's sumptuous period drama "Le Hussard sur le toit" ("The Horseman on the Roof") (1995), the most expensive French film at the time. In the movie, Binoche played a restless married noblewoman, creating a palpable erotic tension with co-star Olivier Martinez despite a lack of love scenes â¿¿ although they shared a real-life love affair. In 1999, Binoche would sue the French magazine Voici for reporting that she dumped Martinez. Binoche argued that the claim, while true, was intrusive, and won damages and a front-page apology from the publication.
The following year, however, Binoche would notch her biggest worldwide success. Cast alongside her "Wuthering Heights" co-star Fiennes in Anthony Minghella's beautifully realized adaptation of "The English Patient" (1996), Binoche played Hana, a French-Canadian nurse tending to a wounded stranger during WWII. The sweepingly romantic film was one of the biggest critical and popular successes of all time, and Binocheâ¿¿s performance as the nurse who hides secret scars of her own earned her showers of accolades, including the Oscar and BAFTA Award for Best Supporting Actress. The same year, Binoche made the charming romantic comedy "Un divan Ã New York" ("A Couch in New York") (1996), playing a sweet, free-spirited Parisian who switches apartments with an uptight psychoanalyst (William Hurt) and accidentally takes on his practice, with wonderful results.
As her star rose, Binoche continued to add stage work to her rÃ©sumÃ©, but returned to film to collaborate again with AndrÃ© TÃ©chinÃ© in his "Alice et Martin" ("Alice and Martin") (1998). Portraying a strong-willed musician who falls in love with a slightly disturbed younger man, Binoche learned to play the violin for the role. She then starred as one of Franceâ¿¿s literary giants in the drama "Les Enfants du SiÃ¨cle" ("Children of the Century" (1999) playing famed 19th century author George Sand â¿¿ a performance that ranked among her best. A romantic relationship with her "Century" co-star BenoÃ®t Magimel resulted in a daughter for the pair. Binoche notched yet another
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CAST: (feature film)
Milestones close milestones
Binoche reportedly had to turn down the lead in "Jurassic Park" because she was committed to filming Kieslowski's "Three Colors" trilogy.
She was originally cast as the lead in "Lucie Aubrac" opposite Daniel Auteuil but left the project over creative differences with the director, Claude Berri. She and Auteuil finally acted opposite one another five years later in "The Widow of St. Pierre".
"I never like the explicit, and I don't like doing nudity. I'll do it, but only when it's essential to my character." --Juliette Binoche to Larry Worth of Daily News, May 17, 1996.
Commenting about being released from "Lucie Aubrac", Binoche told Alan Riding in The New York Times (May 15, 1996): "What really upset me was the feeling of being dispossesed. It's a bit like when you're ready to give birth. I had built up inside me an enormous amount of feelings. I was just about to make it real. It was about creating something that did not happen.
" ... When a director is so possessive about his film, it's a nightmare. You can't work with someone like that."
"You have to go through difficulties to open up and understand life. If you're always in a sugary, round place, you never go anywhere." --Binoche expressing her philosophy to People, December 16, 1996.
"To be an actress was the only thing I wanted. The consequence I didn't dream of, being a public person. ...
"I want to be a normal person, be a storyteller and not be a star.
"An actor has to forget himself and replace himself through another person. That's why you're here." --Juliette Binoche to USA Today, March 19, 1997.
"Money has never been my goal. If you're making films for money, I think there's a sickness. Money can't fulfill you. When you have a house, if you have a second house, you can't live in both. If I say yes to a film, it's because I love the project." --Bincohe quoted in Us, June 1997.
"The thing that was so special about the Oscar was the feeling that I was being adopted by another family, the Americans. That was the most moving thing." --Binoche quoted in Movieline, August 1997.
"Acting is an extrapolation of your own personality -- but it's also a way of forgetting yourself." --Juliette Binoche quoted in Time Out New York, July 20-27, 2000.
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