150 milligrams
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she says she was informed by the company that the plant' s power boiler had particulate emissions of 224 milligrams per reference cubic metre, while the permit for the equipment allows for only 150 milligrams .
150 milligrams je, dakle, jedan od onih poštenih i pristojnih filmova koji ne uvode ništa novo u žanr doku - drame. emmanuelle bercot se teško može nazvati autoricom sa zavidnim zanatskim znanjem i kreativnom energijom, ali ovde pokazuje sva svoja ograničenja. 150 milligrams je film bez ikakve natruhe stila i začina i kao takav zapravo podseća na produkcijski raskošniji i bolje odigran televizijski specijal .
medical thriller la fille de brest (150 milligrams), directed by france’s emmanuelle bercot, will open this year’s edition of the san sebastian film festival held next month in northern spain, organizers said wednesday .
fuzes, from yeast is a great anti - fungal agent. the sensitivity of fungi of the genus candida to the active enzyme fluconazole does focis effective means for the treatment of thrush. in vaginal candidiasis, the drug is administered in the form of tablets (150 milligrams) once. in preventive measures it can also be used, using 1 once a month pill (150 mg) .
iskreno, nisam bio lud ni za erin brokovich, tako da me njena tematske i stilska kopija (to je možda prejaka reč, ali nemam bolju) nije oborila s nogu. u svojoj vernosti izvornom materijalu i istinitim događajima, 150 milligrams je pomalo čak i drven film .
the festival is screening emmanuelle bercot’s most recent films, 150 milligrams and standing tall, inviting the audience to discover her multifaceted oeuvre. in both films, bercot deploys a nervy, quick - footed style to show how people navigate complex institutional frameworks, and hold on to their humanity, even under adverse conditions. a truly compelling film .
director emmanuelle bercot begins “150 milligrams” with a rare stab at lyricism in what is otherwise a bluntly literal, plain - as - day procedural drama. as the opening credits flash by, a woman swims determinedly in a choppy ocean, her head nearly enveloped by prussian blue waves; her legs are shown dangling vulnerably below the surface, as ominous [ … ]
in 1964, samborskaia reported on tests on pregnant guinea pigs given 50 to 500 milligrams of ascorbic acid each day (about 12 to 120 grams per 70 kilograms of body weight), stating that there were increases in abortions, stillbirths, and births of nonviable young. in her 1966 paper, she reported the administration of 150 milligrams of ascorbic acid daily (about 35 grams per 70 kilograms of body weight) to 14 pregnant rats. three of these rats aborted on the thirteenth to fifteenth day of pregnancy. she also reports tests on women which translate as follows :
let us make a simple calculation, assuming that a lactating mother produces 500 to 1, 000 milliliters of breast milk daily (about a pint to a quart). this is the amount a normal infant should consume in the first three months of life according to ingalls (1). the milk should contain more than 4 milligrams of ascorbic acid per 100 milliliters, according to snelling (1). this adds up to an additional burden on the mother of 20 to 40 milligrams of ascorbic acid a day which is secreted for the nourishment of the baby. if the lactating mother is only getting a total of 60 milligrams of ascorbic acid a day, this extra load leaves her only 20 to 40 milligrams of ascorbic acid daily for her own hard - working physiology - - 15 to 35 milligrams a day less than is recommended for a nonlactating female. draw your own conclusions .
bercot, the actress - turned - helmer who opened last year’s cannes fest with the low - key social realism of “standing tall, ” seems somewhat torn between the thorough, academic methodology of docudrama and the romantic pull of a more character - driven underdog saga. notwithstanding a couple of misjudged forays into overt, song - scored cutesiness, “150 milligrams” actually fares better when it takes the more mainstream path, focusing on the fraught interpersonal relationships underpinning — and sometimes unpinning — frachon’s quest .
french multi hyphenate emmanuelle bercot explores further her interest in justice and how it is upheld – or betrayed – by bureaucracies in the enthralling medical drama 150 milligrams. as with her last directorial effort, the juvenile - courtroom - set standing tall, and the screenplay she co - wrote with maiwenn for cop - drama polisse, bercot deploys a nervy, quick - footed style to show how people navigate complex institutional frameworks, juggle their work - life balance and hold on to their humanity, even under adverse conditions .
lead by an outsize but empathic central performance from sidse babett knudsen (borgen, the duke of burgundy) as real - life whistleblower irene frachon (think erin brockovich but with a medical degree) this wordy but always watchable film examines the medical realm, from governing bodies’ meeting rooms to coroners’ labs where corpses are dissected, all with the same unblinking eyes. having played tiff and opened san sebastian, 150 milligrams is likely to be parceled out in further doses on the festival circuit before finding its footing theatrically .
pregnancy, parturition, and lactation are periods of intense biochemical stress for mammals. pregnant mammals, such as rats, which have the ability to produce their own ascorbic acid, significantly increase production of this metabolite to combat these stresses. the recommended daily dietary allowance of ascorbic acid for pregnant and lactating women as set forth by the food and nutrition board of the national academy of sciences, is 60 milligrams a day (1). their corresponding recommendations for nonpregnant females, aged eighteen to over seventy - five, is 55 milligrams a day. this provides a meager 5 milligrams a day to maintain homeostasis under the biochemical stresses of a developing baby, the labor of childbirth, the production of milk, and the physiological recovery from the rigors of motherhood itself .
director emmanuelle bercot begins “ 150 milligrams ” with a rare stab at lyricism in what is otherwise a bluntly literal, plain - as - day procedural drama. as the opening credits flash by, a woman swims determinedly in a choppy ocean, her head nearly enveloped by prussian blue waves; her legs are shown dangling vulnerably below the surface, as ominous synths swarm on the soundtrack. uninformed viewers could be forgiven for expecting yet another “jaws” knockoff, and that’s no accident: bercot’s rather unsubtle visual metaphor instead sets her protagonist up for one corporate shark attack after another in the hazardous waters of big pharma .
m. l. steel 99), in 1968, in a ph. d. thesis entitled
growth and reproduction of guinea pigs fed three levels of ascorbic acid ,
used in her work 4, 10, and 100 milligrams per kilogram of body weight (equivalent respectively to 280 milligrams, 700 milligrams, and 7. 0 grams per 70 - kilogram adult body weight). she showed that animals on the lowest level of ascorbic acid intake had more difficulty in starting a pregnancy, the pregnancy was more likely to end unsuccessfully, the abortion rate was higher, and the death rate was higher. the highest level of ascorbic acid appeared to protect the parent animal from obvious malfunction of the reproductive faculty. however, the survival rate of the offspring was highest when the parent animal was fed the lowest level .
the following is a brief review of the contradictory data from tests on guinea pigs. in the 1962 publication of the national research council of the national academy of sciences ,
nutrient requirements of laboratory animals ,
two diets are given as satisfactory for raising guinea pigs, and hundreds of generations of guinea pigs have probably been raised using them one diet supplies 12. 5 milligrams of ascorbic acid per day, while the other supplies 50 milligrams of ascorbic acid daily. assuming the guinea pig weighs about 300 grams, these amounts are equivalent to 2. 9 grams and 11. 7 grams of ascorbic acid respectively for a 70 - kilogram body weight (154 pounds) .
hemorrhagic shock induced in guinea pigs by a standardized bleeding procedure was the subject of a 1946 paper by de pasqualini (4). she found that if the guinea pigs were given 200 milligrams of ascorbic acid five minutes before the start of bleeding, it prevented shock and 94 percent of her eighteen test animals survived, while 90 percent of the seventeen animals not given ascorbic acid died .
another factor which has impeded the development of the wider usage of ascorbic acid in megascorbic prophylaxis and megascorbic therapy has been a lack of convenient dosage forms for these purposes. for oral administration, the largest easily available tablet contains only 500 milligrams and the largest chewable tablet has 250 milligrams of ascorbic acid. if one wants to consume 10 grams of ascorbic acid a day, it is necessary to swallow twenty large tablets or eat forty chewables. the less readably available powdered ascorbic acid or sodium ascorbate, when measured by the teaspoonful (a level teaspoonful is about 3 grams) and dissolved in water or fruit juice, is convenient and palatable when obtainable. this also avoids the possibility of discomfort when swallowing a series of large tablets. what is really needed for oral administration is a pleasantly flavored chewable wafer supplying 2 or 3 grams of ascorbic acid .
this latter result requires further investigation because it contradicts the results reported in 1967 by c. g. king (9), who supplemented the diet of female guinea pigs each day with 1. 5, 3, 6, and 20 milligrams of ascorbic acid. growth rates were comparable in all groups, but the number of viable offspring increased with each increase in dosage. survival records were the lowest and stillbirths and resorptions were the highest for the group receiving the least ascorbic acid .
fuzes from yeast in gel form is simple and easy to use. it is used in the defeat of the mucous membranes of the external genitalia. gel 1 oz. contains 5 milligrams of the active substance fluconazole. to be effective, you must 1 time a day to lubricate the affected area with the gel. before use clean the skin. therapy gel depends on the stage and form of thrush. it lasts from 7 days to 7 weeks. the gel can be used during pregnancy, but only if the risk of the drug is lower than the probable risk for the child .
the most remarkable effects of the megascorbic dosages were the health and vigor of the babies. they were all robust and not one required resuscitative measures. all the babies from the series were so strong, good looking, vigorous, and trouble - free that the nurses in the hospital referred to them as the
vitamin c babies .
the fultz quadruplets were in this series and they are the only quadruplets that have survived in southeastern united states. the babies were given 50 milligrams of ascorbic acid on the first day and dose was gradually increased thereafter until they were taking 1 gram a day at one year of age. this recommended routine daily dose is increased 1 gram for each year until ten years and then 10 grams regularly thereafter. this megascorbic regimen in pregnancy and childbirth certainly deserves wider recognition and use .
in determining the anti - infectious protective dosage of vitamin c there is another factor which is not generally considered. when the vitamin is employed to neutralize toxins of endogenous or exogenous origin, the action is reciprocal in that the vitamin is also neutralized proportionally, leaving less available for physiological needs. to illustrate, the writer has determined by laboratory and clinical tests that the smoking of one cigarette neutralizes in the body approximately 25 milligrams of vitamin c, or the amount in one medium - sized orange. it will thus be seen how difficult it is to meet the bodily requirement of the pack - a - day smoker for even the protective level of vitamin c from dietary sources. it is thus obvious that the steady smoker, who is usually short on his dietary intake as well, requires a much heavier therapeutic dosage of this vitamin than the nonsmoker .
it stars danish actress sidse babett knudsen as a lung specialist on a crusade against a state - approved drug .
based on a true story, the film recounts the discovery by lung specialist dr. irene franchon of the fatal relationship between a state - approved drug and a string of suspicious deaths among patients under treatment at a brest hospital and her crusade to expose the truth .
it will be the european premiere of the fifth film helmed by bercot, who is also an actress and screenwriter. her film la tete haute (standing tall) opened last year’s cannes film festival, where she won the best actress award for her hole in mon roi (my king) .
stars danish actress sidse babett knudsen as the doctor. last year, she won france’s academie des arts et techniques du cinema’s cesar award for best supporting actress in l’hermine (courted) .
produced by haut et court, the film’s worldwide distribution is being handled by germany’s wild bunch ag .
the san sebastian film festival runs sept. 16 - sept. 24 in the basque seaside resort .
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nigerian metropolis lagos is the focus of the eighth city to city showcase at the toronto international film festival (tiff) as top brass anoint two international rising stars .
tiff’s latest line - up announcement also featured extra selections in galas and special presentations, among them walter hill’s (re) assignment, philippe falardeau’s the bleeder, david leveaux’ the exception (pictured), ken loach’s palme d’or winner i, daniel blake and terry george’s drama the promise .
a vibrant crop of contemporary world cinema entries includes kleber mendonça filho’s aquarius, danis tanović’s death in sarajevo, marie noëlle’s marie curie, the courage of knowledge and akin omotoso’s vaya .
hirokazu kore - eda brings after the storm to the masters showcase, alongside marco bellocchio’s sweet dreams, pedro almodóvar’s julieta, cristian mungiu’s graduation, gianfranco rosi’s berlin golden bear winner fire at sea and adoor gopalakrishnan’s once again .
rounding out the programming is the wavelengths strand of film and video art curated to challenge popular notions and refresh the cinematic art .
wp = world premiere, ip = international premiere, nap = north american premiere, cp = canadian premiere, tp = toronto premiere .
“hundreds of films are made every year in lagos for a voracious audience around the world, ” said tiff artistic director cameron bailey. “our city to city spotlight brings some of nollywood’s most popular filmmakers together with new voices who are introducing an alternative, indie spirit to nigerian cinema. ”
“over the past six years the rising stars talent accelerator has blossomed, and it’s timely for us to shine an even wider spotlight on acting talent by embracing international actors, ” said director of industry kathleen drumm. “the nigerian actors are a welcome addition and a natural evolution of what the programme aims to achieve. ”
oc ukeje the lagos - born actor, singer and performer won the 2006 amstel malta box office reality tv show for actors an went on to train at the new york film academy. credits include half of a yellow sun, two brides and a baby, black november and tv series gidi up .
actor, model and fashion executive based in lagos. a graduate of mcmaster university in hamilton, ontario, she made her onscreen debut in the tv series the island. credits include 93 days, the arbitration and the wedding party and tv series gidi up .
in conversation with… genevieve nnaji and kunle afolayan the session will explore the careers of nollywood leading lady genevieve nnaji and director kunle afolayan .
‘contemporary world cinema is the global heart of the festival, ” said bailey. “we’re thrilled to be launching a lineup that includes the premieres of new films from turkey’s yeşim ustaoğlu, romania’s adrian sitaru, south africa’s akin omotoso, and germany’s marie noëlle. ”
zoology (zoologiya) (russia - france - germany) ivan i. tverdovsky nap .
yourself and yours (dangsinjasingwa dangsinui geot) (south korea) hong sang - soo wp .
previously announced canadian titles in the masters programme include deepa mehta’s anatomy of violence and alanis obomsawin’s we can’t make the same mistake twice .
burning mountains that spew flame (spain) helena girón and samuel m. delgado
general report ii. the new abduction of europe (informe general ii. el nuevo rapto de europa) (spain) pere portabella nap
the woman who left (ang babaeng humayo) (philippines) lav diaz nap .
the event confirmed on twitter that it will take place from tuesday 14 to saturday 25 may 2019 .
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sidse babett knudsen stars as a doctor battling against big pharma in director emmanuelle bercot' s latest story of social justice, which played at tiff and san sebastian this year .
starting as it means to go on, the opening scene shows doctors performing open - heart surgery, complete with bone saws and rib cages being winched open, in the university hospital in brest, northern france. dr. irene frachon (knudsen), a specialist in pulmonology, observes that the valves in the heart of a middle - aged woman, corinne zacharria (isabelle de hertogh) appear severely damaged. it emerges that the valve condition has been found in several other patients who all took mediator, a drug produced by french pharmaceutical company servier, which was designed to treat diabetes and help patients lose weight .
irene is convinced that mediator is to blame for the pathology, but in order to prove that she needs evidence from a properly conducted epidemiological study. several colleagues collaborate on gathering the evidence, but the contribution of research scientist dr. antoine le bihan (benoit magimel) is crucial not only in terms of securing funding but in enhancing the scientific legitimacy of the study. they work long and hard on the study, but results seem to prove irene #' s hypothesis conclusively .
even so, regardless of her character’s origins, knudsen makes irene into a force of nature, an excitable, sometimes goofy and sometimes infuriating creature who just won’t give up, and whose capacity for empathy with the victims drives her on. she’s a sturdy anchor for the film, in much the same way catherine deneuve was in standing tall, but this is nevertheless very much an ensemble piece where every character, no matter how fleetingly met, gets a few brush strokes to distinguish them from the pack. bercot and her regular dop guillaume schiffman (the artist) rack in on small, telling gestures, the expressions on people’s face when they’re at their least self - conscious, for example while listening to an argument in a crowded meeting room, or getting their papers in order. utterly absorbing all the way through, this showcase for bercot’s skill with large casts and intellectually rigorous storytelling may be her best yet .
a headline - making french pharmaceutical battle is given sincere but stolid treatment in emmanuelle bercot' s latest directorial outing .
sidse babett knudsen, benoît magimel, charlotte laemmel, isabelle de hertogh, lara neumann, philippe uchan, patrick ligardes, olivier pasquier, gustave kervern, pablo pauly, myriam azencot, eddie chignara, raphael ferret, christophe meynet, gilles treton, garance mazureck .
bercot’s thespian instincts serve her well in identifying and encouraging such subtle chemistries among her players; incidental domestic scenes between frachon and her alternately proud and befuddled husband (patrick ligardes) and children are likewise played with utmost care and conviction. the filmmaking around these delicate human dynamics can seem indifferently utilitarian by comparison: guillaume schiffman’s gray - toned lensing takes scant advantage of the widescreen format, while julien leloup’s editing assigns the same observational rhythm to rather too many conversational scenes. “patience isn’t my forte, ” our heroine blusters at one point; one occasionally wishes this no - nonsense but paradoxically undisciplined film would take after her a little more .
reviewed online, london, sept. 15, 2016. (in san sebastian film festival — opener; toronto film festival — special presentations .) running time: 127 min. (original title :
la fille de brest
)
production: (france) a haut et court production in co - production with france 2 cinema in association with cofinova 12, soficinema 12, sofitvcine 3, palatine etoile 13, cinemage 10. (international sales: wild bunch, paris .) produced by caroline benjo, carole scotta, barbara letellier, simon arnal .
crew: directed by emmanuelle bercot. screenplay, bercot, séverine bosschem, based on the book
mediator 150mg
by irène frachon. camera (color, widescreen), guillaume schiffman; editor, julien leloup .
with: sidse babett knudsen, benoît magimel, charlotte laemmel, isabelle de hertogh, lara neumann, philippe uchan, patrick ligardes, olivier pasquier, gustave kervern, pablo pauly, myriam azencot, eddie chignara, raphael ferret, christophe meynet, gilles treton, garance mazureck .
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irène frachon, a doctor who lives in the breton town of brest, dares to stand up to the french health and pharmaceutical industry, helping to uncover the media scandal surrounding the... see full summary »
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irène frachon, a doctor who lives in the breton town of brest, dares to stand up to the french health and pharmaceutical industry, helping to uncover the media scandal surrounding the commercialization of a controversial medicine whose side effects have caused the death of hundreds of people .
a
keep calm and carry on
variation on the famous meme is seen in the figaro newsroom in 2010; it' s a bit early for french journalists to pick up on that meme, which peaked in 2012 - 2013 .
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in the brest hospital where she works, a lung specialist discovers a direct link between some patients’ suspicious deaths and mediator, a medicine that has been prescribed for 30 years. determined to bring the truth to light, she challenges the power of the medical court and pharmaceutical companies. from the isolation at the beginning of her discovery to the explosion of media coverage of the scandal, this true story, inspired by the real life of irène frachon is a david and goliath battle to see truth triumph at last .
sidse babett knudsen (courted – festival 2016) plays a strong woman with a dry sense of humour winning over her adversaries and the audience alike. benoît magimel (also in standing tall) gives a nuanced performance as the hospital’s head of research who is taken in by irène’s charming perseverance .
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long synopsis: in the hospital where she works in brest, france, a lung specialist discovers a direct link between suspicious deaths and state - approved medicine. she fights single - handedly for the truth to come out. the story of irène frachon, who broke the mediator scandal, erin brockovich, french style. based on the book by irène frachon
mediator 150mg
director, screenwriter and actor emmanuelle bercot (mon roi) adapts irène frachon’s bestselling memoir for this story of a dedicated doctor whose investigation into recent patient deaths leads to a crusade against a powerful drug company .
acclaimed director, screenwriter, and actor emmanuelle bercot has emerged over the past decade as one of europe' s foremost triple talents: her feature directorial debut, backstage, screened at tiff in 2005, and her film standing tall opened last year' s cannes festival, where she also won the best actress prize for her role in mon roi. with her latest film, the charged social drama la fille de brest, she is poised to broaden her audience in north america. an angry piece of filmmaking designed to draw attention to a serious issue and shake up a complacent system, it tells the true story of a woman' s long fight to be taken seriously as she confronts the pharmaceutical industry .
based on irène frachon' s bestselling memoir médiator 150mg, la fille de brest is set in brittany — a key element of the film as there is a constant tension between paris and the provinces — and revolves around irène (sidse babett knudsen), a hospital lung specialist who begins to suspect a connection between recent patient deaths and medications being prescribed. after she turns to the hospital' s head of research, antoine (benoît magimel), for help, irène' s investigation leads her to a powerful drug company. of course, that' s when things start to get ugly. antoine' s research unit is suddenly threatened with funding cuts, and irène' s colleagues begin to view her derisively as a meddlesome crusader .
frachon' s story calls to mind that of another hard - charging activist: erin brockovich. but bercot' s distinct personality as a director ensures that this is new cinematic territory. in knudsen, who appears in almost every scene in the film, she finds an actor fully up for the role of the steely heroine, and magimel offers able support. as this eye - opening and inspiring work illustrates, frachon simply never gave up, until — well, see the film to find out what happened !
emmanuelle bercot' s powerful social - justice drama is a french erin brockovich story about dr. irene frachon (sidse babett knudsen), who discovers that a state - approved medication has caused suspicious deaths, leading her on a one - woman crusade to reveal the truth .
utterly absorbing all the way through, this showcase for bercot' s skill with large casts and intellectually rigorous storytelling may be her best yet .
— leslie felperin, the hollywood reporter
french filmmaker emmanuelle bercot started as an actress in the 1991 film, ragazzi, eventually leading her to roles in films such as polisse (2011) and my king (2015). she started directing in 1997 with the short film les vacanes, and has become well - known for her films o n my way (2013) and standing tall (2015) .
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this very watchable take on what was a high profile case in france will benefit domestically from the familiarity with the story, and the fact that frachon’s memoir, médiator 150mg, la fille de brest, was a bestseller. other territories could connect with the newsworthy topicality of the subject matter and the magnetic presence of borgen star knudsen in the crucial central role. further festival berths seem likely: following its world premiere in toronto, the film opens the san sebastian film festival .
bercot cites steven soderbergh’s erin brockovich as a key influence on the film, and there are clear parallels, not least in the focus on a tirelessly principled and feisty female protagonist. irène is an immensely enjoyable character with whom to spend several hours. she is impassioned to the point of recklessness and given to puncturing the egos of the male establishment figures around her. she disarms a highly charged meeting with antoine le bihan (benoît magimel), the man who will lead the research to back up her theory, by pointing out that his flies are undone; she chucks around insults like ‘limp dick’; she launches into torrents of abusive invective which trail behind her, a slipstream of extravagantly creative swearing, as she stomps around the hospital .
bercot tests the mettle of the audience with a graphic sequence of open heart surgery at the film’s opening. this, and a grisly autopsy later on, is intentionally tough viewing which delivers an adrenalin boost to power the audience through some of the slower scenes which follow. in fairness, however, even the expository sequences which explain frachon’s suspicions about the drug mediator, and the process by which she must make them known, are attacked by bercot with real gusto. not all of her directing decisions work – the bizarre use of bagpipes on the score at one climactic moment is one which misfires – but all of them are interesting .
most impressive are the sequences which, handled differently, could have had the potential to drain the life from the film. a hearing, held in a grey box of a room, turns into an exercise in nerve - shredding tension, as the camera darts tensely between fidgeting experts, slamming doors and scraping seats. antoine loses his cool. skin the colour of congealed porridge, he dashes from the room. the suits from the drug company smirk triumphantly .
the film is not without problems – even with the level of energy that knudsen brings to the film, the running time feels a little overstretched. and the music choices are frequently jarring – apart from the aforementioned bagpipes, there is a strident electro - rock track that sounds as though it was lifted from a 1980s cop movie. still, the anger and outrage that powers the film is bracingly authentic .
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a pneumonologist working in a hospital in france notices a link between suspicious deaths and a state - approved medication used to treat diabetes. fighting on her own against the system, franchon manages to break the scandal and reveal the truth .
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in the hospital where she works in brest, france, a lung specialist discovers a direct link between suspicious deaths and state - approved medicine. she fights single - handedly for the truth to come out .
there' s something incredible about this story of a doctor from a small french city who takes on big pharma. sidse babett knudsen as irène frachon is a force of nature, not letting numerous setbacks break her resolve to bring the scandalous true story to life. the opening scene has her swimming in a large ocean, against large waves, but it' s not an overused metaphor .
while the story may be big, it' s grounded in real life, and it avoids cliché - frachon works closely with benoît magimel' s research head but she also has a happy home life and a supportive husband. one can see the influence of director bercot in not sensationalising a sensational story .
el zinemaldia 2016 se inauguró con esta comprometida película que representa la lucha que emprendió la neumóloga francesa, irene frachon, contra la todopoderosa industria farmacéutica, por cuya fuerza y tesón, logró el objetivo que perseguía. está basada en un caso real y la crítica no le fue nada favorable, no es mi opinión, el dinamismo en la interpretación de la protagonista, ya le hace merecedora de una buena puntuación, a ella, sidse babett, y a la directora, emmanuelle brecot. ambas, nos transmiten la profesionalidad que motivó a la valiente neumóloga y su único compromiso
los pacientes
.
i never wanted to be a whistleblower. i just wanted to care .
“this is a little cracker, perfectly paced with lots of little details of family and working life that – it seems to me – could only have come from a female director. emmanuelle bercot has two films in the festival and i’ll be queuing to watch the other one, standing tall from 2015, if it’s half as good as this. ” rnz widescreen
hits somewhere between the compelling nature of spotlight and the verve of the big short, though it never completely absorbs either. the narrative is dense, picking you up from one tense situation only to drop you right into the next. i don' t think i' ve seen a pharmaceutical thriller this quickly paced .
inconveniência é ter feito de frachon uma dinamarquesa, nacionalidade de sidse babett knudsen, a atriz que encarna a personagem, para poder justificar seu sotaque. nos momentos de tensão extrema ela solta imprecações em dinamarquês, para a estupefação geral. no meio de tanto artificialismo, knudesen - que é uma atriz com recursos - acaba se perdendo e muitas vezes carrega nas tintas. a mesma falta de matizes aparece na estrutura do drama, organizado a partir da oposição esquemática entre a médica e seus aliados - os bons, ponderados e justos - e os representantes do laboratório e das autoridades de saúde - os maus, presunçosos e mentirosos. finalmente, os doentes, aqueles pelos quais a heroína se joga de cabeça nessa guerra, e seus dramas pessoais, aparecem muito pouco, quase não têm voz .
tiene ese estilo francés de películas que poco a poco van calando, con buenas interpretaciones y una sobria dirección que hacen que un tema tan árido como este de las farmacéuticas sea muy interesante. fantástica sidse babett knudsen es un papel muy goloso pero que lleva todo el peso del film. muy bien .
well, you' d be hard to find a movie that so accurately reflects the realities of fighting the good fight from within academia (from grant applications and clashing egos right down to a tense beat the clock countdown that culminates in... someone saying
plos one has agreed to publish our study
) while still making a good go of being a thriller .
de humor is hopeloos, de lichte toon vloekt met het zware onderwerp en het privéleven van de merkwaardige frachon is allesbehalve interessant. zodat de film vooral leunt op het (waargebeurde) verhaal, en dan is een farmaceutisch drama van meer dan twee uur echt te lang. het verloop is veel te traag, terwijl we in ons achterhoofd allang weten hoe dit gaat eindigen. een saaie kijkervaring dus, waar alleen de slijter een goed medicijn tegen heeft. met flinke bijwerkingen, dat wel .
script lost me on its way, and i was a bit annoyed by the main actress' performance .
hiff2017 14 / 18 true story with intrigue, a passionate will to do the right thing and evil conspiring big pharma executives and experts. the speed kept increasing until the end. i did not understand the 20 - somethings complaining the film got dull after 20 minutes! by far the most engaging performance by sidse babette knudsen and all that in french of all languages !
up to date as of july 7th, 2018 (give or take a film or three) .
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click on the title or photo of the films to get access to synopsis, trailer and reviews .
7: 30pm the royal exchange (doors open at 6: 30pm) allow 20 minutes for opening speeches. followed by q & a with william breazeale, curator at the crocker art museum, and le professeur kevin elstob .
1: 25pm don' t give up the ghost followed by q & a with director jean - louis milesi and his sons .
11: 15pm the night eats the world followed by coffee & pastries provided by coffee works .
10: 45am petit déjeuner (coffee & pastries) - lobby of the crest theatre. free with admission to kiss me !
11: 15am kiss me! followed by q & a with director & star océan .
6: 10pm gaspard at the wedding u. s. premiere followed by q & a with director antony cordier .
11: 05pm double lover ollowed by q & a with sionann o’neill, official english - language translator of françois ozon & coffee & pastries provided by coffee works .
7: 15pm custody followed by q & a with guillaume caramelle, director of one night .
the royal exchange (l' echange des princesses, 100 min) 2017 - marc dugain friday, june 15 - 7: 30pm - one screening only! screening followed by q & a with william breazeale, curator at the crocker art museum & le professeur kevin elstob .
champagne & dessert opening night party immediately after the screening in the lobby of the crest theatre. bubbly by barefoot wine & bubbly, dessert by melting pot, café by coffee works .
pink champagne & dessert closing night party immediately after the screening in the lobby of the crest theatre. pink bubbly by barefoot wine & bubbly, café by coffee works .
don' t give up the ghost (87 min) 2016 - jean - louis milesi saturday, june 16 - 1: 25pm - one screening only! screening followed by q & a with director jean - louis milesi and his sons .
number one (numéro une, 110 min) 2017 - tonie marshall saturday, june 16 - 6: 15pm - one screening only! rendez - vous with le professeur kevin elstob after the screening .
the workshop (l' atelier, 113 min) 2017 - laurent cantet saturday, june 16 - 8: 45pm & sunday, june 17 - 4: 40pm rendez - vous with le professeur kevin elstob after the sunday screening .
the guardians (les gardiennes, 138 min) 2017 - xavier beauvois sunday, june 17 - 1: 45pm - one screening only! rendez - vous with mona siegel, professor of history, sacramento state university & le professeur kevin elstob after the screening .
bloody milk (petit paysan, 90 min) 2017 - hubert charuel sunday, june 17 - 9: 10pm & friday, june 22 - 6: 15pm rendez - vous with le professeur kevin elstob after the friday screening .
bpm (120 battemements par minute, 143 min) 2017 - robin campillo friday, june 22 - 8: 20pm - one screening only! screening followed by q & a with chris narloch, film critic at outword, and le professeur kevin elstob .
godard mon amour (le redoutable, 107 min) 2017 - michel hazanavicius saturday, june 23 - 1: 20pm - one screening only! rendez - vous with film historian j. greenberg after the screening .
the house by the sea (la villa, 107 min) 2017 - robert guédiguian saturday, june 23 - 3: 45pm & sunday, june 24 - 4: 45pm rendez - vous with le professeur kevin elstob after the saturday screening .
gaspard at the wedding (gaspard va au mariage, 105 min) 2018 - antony cordier saturday, june 23 - 6: 10pm - one screening only! u. s. premiere followed by q & a with director antony cordier .
luna (93 min) 2018 - elsa diringer sunday, june 24 - 2: 05pm - one screening only! screening followed by q & a with sionann o’neill .
contempt (le mépris, 103 min) 1963 - jean - luc godard saturday, june 23 - 11: 00am - one screening only! rendez - vous with film historian j. greenberg after the screening .
zombies and evil twins are on the menu of our 2018 late night screenings. after the films, discussions around comforting café and pastries provided by coffee works will help you ease back into your regular life .
the night eats the world (la nuit a dévoré le monde, 94 min) 2018 - dominique rocher saturday, june 16 - 11: 15pm - one screening only! coffee and pastries (provided by coffee works) will be served after the screening .
double lover (l' amant double, 107 min) 2017 - françois ozon saturday, june 23 - 11: 05pm - one screening only! screening followed by q & a with sionann o’neill, official english - language translator of françois ozon. coffee and pastries (provided by coffee works) will be served after the screening .
the sacramento french film festival is proud to present a selection of shorts from france, in collaboration with unifrance .
antony cordier was born in tours in a working - class family to whom he dedicated his first feature film, the documentary beau comme un camion (as beautiful as a truck). he studied cinema at la fémis, in the editing department. his first feature fiction film, douches froides (cold showers), premiered at the cannes directors fortnight in 2005, and won the louis delluc prize for best first film and major awards at verona and taiwan film festivals. his second feature film, happy few (four lovers), starring marina foïs, roschdy zem, elodie bouchez and nicolas duvauchelle, was selected in competition at the venice international film festival in 2010. gaspard at the wedding, presented this year at the sfff in its u. s. premiere, is his third feature film .
sionann o’neill was born in the bay area and grew up in quincy, a small town in the sierra nevada mountains northeast of sacramento. after graduating from the evergreen state college in olympia, washington, she worked for three years to save money, then left for europe in 1988. she settled in france and began studying cinema at the sorbonne, where she formulated a desire to do subtitles. a stroke of good fortune led her to meet then - fledgling filmmaker françois ozon, who needed someone to subtitle his shorts. she has gone on to translate all of mr. ozon’s films, and has been working for agnès varda and a host of emerging young directors in france. for several years, she supervised the french subtitling team for the daily show with jon stewart. she also works as an interpreter for actors and directors at the cannes film festival. she currently lives in normandy. sionann will be providing her insights in q & as following the screenings of double lover and luna .
guillaume caramelle is a young director (short films and advertisements) and screenwriter who scrutinizes society to translate it into images. his films tell his story, but more generally that of a dissolute youth in search of identity. caramelle' s goal is not only to observe, but to probe the woes of our society and explore its limits in a decidedly modern tone that alternates between sarcasm and solemnity. at 25, he directed his first short film, au souvenir d' une lune, which follows a young graduate anxious about his future. his second film, nikki marianne, a humorous teenage short, was selected in many festivals in europe and the united states and bought by ocs and short tv. in his third and latest short film, one night, presented this year at the sfff, he tackles in less than four minutes the themes of disability and prostitution.
150 milligrams ( french : la fille de brest lit . the girl of brest ) is a 2016 french drama film directed by emmanuelle bercot . it was screened in the special presentations section at the 2016 toronto international film festival . the film is based on the true story of french pulmonologist irène frachon , who became noted for her investigations of the serious side effects and deaths attributed to the diabetes drug mediator , produced by french manufacturer laboratoires servier . 
150 milligrams (french: la fille de brest lit. the girl of brest) is a 2016 french drama film directed by emmanuelle bercot. it was screened in the special presentations section at the 2016 toronto international film festival. the film is based on the true story of french pulmonologist irène frachon, who became noted for her investigations of the serious side effects and deaths attributed to the diabetes drug mediator, produced by french manufacturer laboratoires servier.
150 milligrams (french: la fille de brest lit. the girl of brest) is a 2016 french drama film directed by emmanuelle bercot. it was screened in the special presentations section at the 2016 toronto international film festival. the film is based on the true story of french pulmonologist irène frachon, who became noted for her investigations of the serious side effects and deaths attributed to the diabetes drug mediator, produced by french manufacturer laboratoires servier.