Here is a photo of Gaspard’s character Basile in “Un peuple et son roi”:
(I will add it to the gallery as soon as there is a HQ version.)
I have added several photos of “9 doigts” that you can find here:
The theatrical release date is March 21 (France).
Gaspard has voiced a character (Thomas) for the 9th episode of “Calls” – a French TV show without images.
Interested in the making-of? Check this out:
I’ve added photos from behind the scenes to the gallery:
Let me end this short post with a little reminder that Gaspard will return to television later this year for a different series. I’ll keep you updated!
Yesterday, Gaspard attended the 68th Berlin Film Festival to present the thriller “Eva” together with his co-stars (Isabelle Huppert, Julia Roy) and director Benoît Jacquot.
In case you missed the live-streamings of the event, you can still watch everything on the official Berlinale homepage:
Here is also a short red carpet interview (in English):
Unfortunately, “Eva” has not received very good reviews so far. The majority of critics don’t seem to have anything negative to say about Gaspard’s performance, though:
VARIETY – Ultimately, then, the chief reward of “Eva” lies in watching Huppert and Ulliel — both treated with the rapt, silky devotion they deserve by cinematographer Julien Hirsch and costume designer Marielle Robaut — mutually assembling kinked, jagged character studies from too few puzzle pieces, coloring the ones they have with extra-dark curiosity to compensate. If their individual portraits never quite emulsify into a cohesive human bond, that’s probably the point, though it’d be nice to see more filmmakers play with their prickly chemistry together. Born 30 years apart, the actors play off each other as pleasantly surprising equals: “I don’t know and I don’t care,” Bertrand says when the question of Eva’s age is fleetingly raised. Try running that line past a Hollywood producer; for all its flaws, “Eva’s” shruggingly adult Frenchness is a pleasure in itself.
SCREEN DAILY – With Huppert on autopilot, the film’s ace card is the wolfish Ulliel as an unsympathetic, self-regarding anti-hero; yet with worldly success and its possible loss as the only real stakes in the drama, it becomes increasingly hard to care about what happens to anyone here. Still, on the plus side, Julia Gregory’s abrupt editing style gives Eva a rhythm that’s decidedly not by the book.
“Eva” is scheduled to hit (French) theaters on March 7, 2018.