In the movie, Delpy's character Marion is paid a visit by her sister Rose and eccentric father Jeannot in the Big Apple, who clash when they meet her boyfriend Marcus, played by funnyman Chris Rock.
And the French beauty admits it didn't take too long to get into character since she got to team up with her theatre director dad Albert Delpy in the film.
But the actress has warned fans not to expect too many similarities, telling New York Magazine, "My dad isn’t like that in real life. It’s a character, he’s not like that at all...Totally fictional from A to Z."
The other day, we got a look at the list of competitors in the upcoming Sundance Film Festival. But we've also got ourselves a fair share of promising premieres, with a slew of stars and directors alike that we're sure to get excited over.
Some of the big names we'll be seeing at this year's Sundance include Bradley Cooper, Zoe Saldana, Olivia Wilde and Jeremy Irons in The Words, Bruce Willis and Catherine Zeta-Jones in Lay the Favorite, Kirsten Dunst, Isla Fisher, Lizzy Caplan and Adam Scott in Bachelorette, Julie Delpy and Chris Rock in the Delpy-directed 2 Days in New York, Rashida Jones, Andy Samberg and Elijah Wood in Celeste and Jesse Forever (co-written by Jones) and Josh Radnor, starring against Elizabeth Olsen, in Liberal Arts, which he wrote and directed.
2 Days in New York / France (Director: Julie Delpy, Screenwriters: Julie Delpy, Alexia Landeau) — Marion has broken up with Jack and now lives in New York with their child. A visit from her family, the different cultural background of her new boyfriend, her sister’s ex-boyfriend, and her upcoming photo exhibition make for an explosive mix. Cast: Julie Delpy, Chris Rock, Albert Delpy, Alexia Landeau, Alex Nahon.
Arbitrage / U.S.A. (Director and screenwriter: Nicholas Jarecki) — A hedge-fund magnate is in over his head, desperately trying to complete the sale of his trading empire before the depths of his fraud are revealed. An unexpected, bloody error forces him to turn to the most unlikely corner for help. Cast: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta.
Bachelorette / U.S.A. (Director and screenwriter: Leslye Headland) — Unresolved issues between four high school friends come roaring back to life when the least popular of them gets engaged to one of the most eligible bachelors in New York City and asks the others to be bridesmaids in her wedding. Cast: Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, Adam Scott, Kyle Bornheimer.
Celeste and Jesse Forever / U.S.A. (Director: Lee Toland Krieger, Screenwriters: Rashida Jones, Will McCormack) — Celeste and Jesse met in high school, married young, and at 30, decide to get divorced but remain best friends while pursuing other relationships. Cast: Rashida Jones, Andy Samberg, Ari Graynor, Chris Messina, Elijah Wood, Emma Roberts.
For A Good Time, Call... / U.S.A. (Director: Jamie Travis, Screenwriters: Katie Anne Naylon & Lauren Anne Miller) — Lauren and Katie move in together after a loss of a relationship and a loss of a rent controlled home, respectively. When Lauren learns what Katie does for a living the two enter into a wildly unconventional business venture. Cast: Ari Graynor, Lauren Anne Miller, Justin Long, Mark Webber, James Wolk.
GOATS / U.S.A. (Director: Christopher Neil, Screenwriter: Mark Jude Poirier) — Ellis leaves his unconventional desert home to attend the disciplined and structured Gates Academy. There, he re-connects with his estranged father and for the first time questions the family dynamics. Cast: David Duchovny, Vera Farmiga, Graham Phillips, Justin Kirk, Ty Burrell.
Lay The Favorite / U.S.A. (Director: Stephen Frears, Screenwriter: D.V. Devincintis) — An adventurous young woman gets involved with a group of geeky older men who have found a way to work the sportsbook system in Las Vegas to their advantage. Cast: Bruce Willis, Catherine Zeta-Jones, Rebecca Hall.
Liberal Arts / U.S.A. (Director and screenwriter: Josh Radnor) — When 30-something Jesse is invited back to his alma mater, he falls for a 19-year-old college student and is faced with the powerful attraction that springs up between them. Cast: Josh Radnor, Elizabeth Olsen, Richard Jenkins, Allison Janney, John Magaro, Elizabeth Reaser.
Price Check / U.S.A. (Director and screenwriter: Michael Walker) — Pete is having trouble resolving a happy marriage and family life with rising debt and a job he hates. When his new boss pulls him into the maelstrom that is her life, money and opportunities come his way, but at what price? Cast: Parker Posey, Eric Mabius, Annie Parisse, Josh Pais, Cheyenne Jackson.
Red Hook Summer / U.S.A. (Director: Spike Lee, Screenwriters: James McBride, Spike Lee) — A young Atlanta boy spends his summer in Brooklyn with his grandfather, who he's never seen before. Cast: Clark Peters, Jules Brown, Toni Lysaith, James Ransone, Thomas Jefferson Byrd.
Robot and Frank / U.S.A. (Director: Jake Schreier, Screenwriter: Christopher Ford) — A curmudgeonly older dad’s grown kids install a robot as his caretaker. Cast: Frank Langella, Susan Sarandon, James Marsden, Liv Tyler. SALT LAKE CITY GALA FILM
Shadow Dancer / United Kingdom (Director: James Marsh, Screenwriter: Tom Brady) — Widowed mother-turned-terrorist Colette McVeigh has high-ranking brothers in the IRA. When she’s arrested in an aborted bomb plot she must make hard choices, testing family loyalties. Cast: Andrea Riseborough, Aiden Gillen, Domhnall Gleeson, with Gillian Anderson and Clive Owen.
The Words / U.S.A. (Directors and screenwriters: Brian Klugman, Lee Sternthal) — Aspiring writer Rory Jansen finds another man's haunting memories in a collection of lost stories and claims them as his own, propelling him to literary stardom. Cast: Bradley Cooper, Jeremy Irons, Dennis Quaid, Olivia Wilde with Zoe Saldana. CLOSING NIGHT FILM
13 Notes: Paul Simon's Graceland Journey / U.S.A. (Director: Joe Berlinger) — Paul Simon returns to South Africa to explore the incredible journey of his historic Graceland album, including the political backlash he sparked for allegedly breaking the UN cultural boycott of South Africa, designed to end Apartheid.
About Face / U.S.A. (Director: Timothy Greenfield-Sanders) — An exploration of beauty and aging through the stories of the original supermodels. Participants including Isabella Rossellini, Christie Brinkley, Beverly Johnson, Carmen Dell'Orefice, Paulina Porizkova, Jerry Hall and Christy Turlington weigh in on the fashion industry and how they reassess and redefine their own sense of beauty as their careers progress.
A Fierce Green Fire / U.S.A. (Director: Mark Kitchell) — A definitive history of one of the most important movements of the 20th century, A Fierce Green Fire chronicles the environmental movement’s fascinating evolution from the 1960s to the present.
Bones Brigade / U.S.A. (Director: Stacy Peralta) — When six teenage boys came together as a skateboarding team in the 1980s, they reinvented not only their chosen sport but themselves too – as they evolved from insecure outsiders to the most influential athletes in the field.
The D Word: Understanding Dyslexia / U.S.A. (Director: James Redford) — While following a Dyslexic high school senior struggling to achieve his dream of getting into a competitive college, The D Word exposes myths about Dyslexia and reveals cutting edge research to elucidate this widely misunderstood condition.
Ethel / U.S.A. (Director: Rory Kennedy) — This intimate, surprising portrait of Ethel Kennedy provides an insider's view of a political dynasty, including Ethel’s life with Robert F. Kennedy and the years following his death when she raised their eleven children on her own.
Something From Nothing: The Art Of Rap / United Kingdom (Director: Ice-T, Co-Director: Andy Baybutt) — Through conversations with Rap’s most influential artists – among them Chuck D, Snoop Dogg, Dr. Dre, Eminem, MC Lyte, Mos Def, and Kanye West – Ice-T explores the roots and history of Rap and reveals the creative process behind this now dominant art form.
West of Memphis / U.S.A. (Director: Amy Berg) — Three teenage boys are incarcerated for the murders of three 8-year-old boys in West Memphis, Arkansas. 19 years later, new evidence calls into question the convictions and raises issues of judicial, prosecutorial and jury misconduct – showing that the first casualty of a corrupt justice system is the truth.
You may have heard critics and advertisers tout The Social Network David Fincher’s finger-pointing film about how Facebook was harvested from the halls of Harvard and turned into a billion dollar business as “the movie of the decade” or “a generation-defining film.” This kind of praise has led the entertainment journalism collective to liken it to true staples of cinema like Citizen Kane and The Graduate. In terms of relevance to its audience those are fair if overreaching statements. The film depicts its teenage characters with unflinching pragmatism as it weaves the nasty web of deception and betrayal that is the story of the social media juggernaut. In terms of its protagonist’s journey however I couldn’t help but compare it to another landmark film: 1974’s Death Wish.
Like Michael Winner’s divisive and controversial revenge flick the action in The Social Network as with so many stories kicks off when anti-hero Mark Zuckerberg loses the leading lady in his life. Luckily she’s not slaughtered by a pack of petty thugs but instead liberates herself from her pretentious and pessimistic beau in the crushing opening scene of the film which sets into motion a chain of events that will change his life – and the world.
Zuckerberg played with sardonic wit by rising star Jesse Eisenberg retreats to his Kirkland Hall haven seeking retribution (see where I’m going with this?). He gets drunk blogs unfavorably about his ex and creates a program that places female students’ headshots side by side so that inebriated undergrads can anonymously rate them. The site called Facemash accumulates so many hits that it crashes the University’s servers which gets the attention of the school’s cyber-security squad as well as a group of aspiring entrepreneurs. Twins Cameron and Tyler Winklevoss (both played by Armie Hammer) well-to-do all-American future Olympians approach Zuckerberg with an opportunity to design a website that they’ve been quietly developing: a social network exclusive to Harvard students. Mark likes the idea but doesn’t want to be a part of it: he wants the whole thing. If greed is good then Zuckerberg (though not exactly financially motivated) is great.
The connections between Charles Bronson’s career defining film and Fincher’s soon-to-be-classic movie are of course hypothetical. My point is that like Paul Kersey Zuckerberg paints a target on his head with his vengeful actions as he breaks the rules of business ethics and leaves his mark on the world. Only after the storm has begun brewing does he realize that he’s in way over his head.
The Social Network is more a meditation on right vs. wrong than a chronicle of the birth of Facebook and it is a more affecting film because of that. The courtroom drama that ensues through Fincher’s two-hour masterpiece pulls no punches and asks the questions that we the audience are most curious about: Who really started Facebook? How much is the company worth? Fincher explores the historic and meteoric rise of this digital domain delicately building the tension organically as each chapter gives way to a new series of inquiries during the legal proceedings. Rather than provide a definitive answer he leaves the audience responsible for drawing its own conclusions.
Though it’s quite different from many of the grim stories Fincher’s told before The Social Network still conforms to the technical style that defines his work. The dank college dorms and dingy frat houses bring to mind the dreary environments of Panic Room and Fight Club especially in terms of lighting and color. Quick cuts convey the lightening fast pace in which we consume information in the digital age. The ominous music composed by Trent Reznor aids the auteur in expressing the enormity of the situation. Most noteworthy however is Aaron Sorkin’s stinging script which uses tech-speak legal lingo and slang to tell the tale of sex lies and limitless fortunes. He brilliantly combines multiple points of view (that of Zuckerberg his partner Eduardo Saverin and the Winklevosses) of the same events to bring his audience a well-rounded and unbiased account of the events that turned best friends into bitter enemies and bookworms into billionaires.
I believe that while it will certainly garner numerous award nominations come January The Social Network’s full impact will not be felt until the generation that it portrays can look back at it in retrospect. It is a very contemporary piece of thought provoking entertainment but we can’t assume that it defines who we are as a collective community because like Zuckerberg says of his digital society we don’t really know what it is yet.