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      Laurent Cantet, Whose Films Explored France’s Undersides, Dies at 63

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      His acclaimed “The Class” walked a provocative line between documentary and fiction. In that film and others, he explored the inescapable traps of late-stage capitalism.Laurent Cantet, an eminent director who made penetrating films about the prickly undersides of French life and society, died on April 25 in Paris. He was 63.His screenwriter and editor, Robin Campillo, said he died of cancer in a hospital.Mr. Cantet’s best-known film was “Entre les Murs” (“The Class”), which won the Palme d’Or, the Cannes Film Festival’s top prize, in 2008 and was nominated for an Oscar as best foreign-language film. “The Class” was something new in French filmmaking: an extended snapshot of the inside of a schoolroom in a working-class district of Paris, using a real-life ex-teacher and real-life schoolchildren and treading a provocative line between documentary and fiction.That ambiguity infuses the film with a rare tension, as a hapless language teacher struggles with his largely immigrant students, trying (with difficulty) to gain their acceptance of the strict rules of the French language, and French identity. In this frank chronicle of classroom life, the students, many of them from Africa, the Caribbean and Asia — bright, sometimes provocative — have the upper hand.Along the way, Mr. Cantet surgically exposes the fault lines in France’s faltering attempts at integration, showing exactly where the country’s rigid model is often impervious to the experience of its non-native citizens. Reviewing “The Class” in The New York Times, Manohla Dargis called it “artful, intelligent” and “urgently necessary.”The film touched a nerve in France, selling more than a million tickets. Right-leaning intellectuals like Alain Finkielkraut denounced it for devaluing classical French culture — unwittingly underscoring Mr. Cantet’s point.Mr. Cantet was invited to the Élysée Palace to discuss the film with President Nicolas Sarkozy. He declined the invitation. “I’m not going to speak about diversity with someone who invented the Ministry of National Identity,” Mr. Cantet said at the time, referring to one of Mr. Sarkozy’s more ill-fated initiatives.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      #MeToo Stalled in France. Judith Godrèche Might Be Changing That.

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      Judith Godrèche did not set out to relaunch the #MeToo movement in France’s movie industry.She came back to Paris from Los Angeles in 2022 to work on “Icon of French Cinema,” a TV series she wrote, directed and starred in — a satirical poke at her acting career that also recounts how, at the age of 14, she entered into an abusive relationship with a film director 25 years older than her.Then, a week after the show aired, in late December, a viewers’ message alerted her to a 2011 documentary that she says made her throw up and start shaking as if she were “naked in the snow.”There was the same film director, admitting that their relationship had been a “transgression” but arguing that “making films is a kind of cover” for forms of “illicit traffic.”She went to the police unit specialized in crimes against children — its waiting room was filled with toys and a giant teddy bear, she recalls — to file a report for rape of a minor.“There I was,” said Ms. Godrèche, now 52, “at the right place, where I’ve been waiting to be since I was 14.”Since then, Ms. Godrèche has been on a campaign to expose the abuse of children and women that she believes is stitched into the fabric of French cinema. Barely a week has gone by without her appearance on television and radio, in magazines and newspapers, and even before the French Parliament, where she demanded an inquiry into sexual violence in the industry and protective measures for children.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Paris Waiters Race as Storied Contest Returns Before Olympics

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      Contestants rushed through the streets with croissant-laden trays in a moment for the French capital to showcase its cafe culture ahead of the Summer Olympics.The contestants warmed up with stretches and squats in front of City Hall, carefully repositioned croissants and glasses on their trays and tightened their aprons as pop music blared from loudspeakers.Then, they were off.On Sunday, for the first time in over a decade, Paris revived a tradition: an annual race of cafe and restaurant waiters. About 200 men and women swerved, jostled and jogged 1.2 miles through the city streets, which were lined with cheering crowds. The rules were simple: No running, and reach the finish line with laden trays intact with a croissant, a glass of tap water and a small coffee cup.The race, which was first held in the early 20th century, had been on hiatus since 2012 because of a lack of funding. But Paris officials saw an opportunity for the city to shine before hosting the Summer Olympics, which kick off in July. It was also a moment to illustrate that sipping coffee at a cafe or wine in a bistro was as integral to the capital’s cultural heritage as its most famous landmarks.“When foreigners come to Paris, they don’t just come for the Louvre and the Eiffel Tower,” said Nicolas Bonnet-Oulaldj, the deputy mayor in charge of commerce. “They also come to eat in our cafes, at the Bouillon Chartier, the Brasserie Lipp or the Procope.”André Duval, center, said he remembered the days when waiters ferried wine — not water — across the finish line. Dimitar Dilkoff/Agence France-Presse — Getty ImagesParis was home to more than 15,000 bars, cafes and restaurants last year, according to city statistics.Miguel Medina/Agence France-Presse — Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Laurent de Brunhoff, Artist Who Made Babar Famous, Dies at 98

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      After his father, who created the character, died, he continued the series of books about a modest elephant and his escapades in Paris for seven decades.Laurent de Brunhoff, the French artist who nurtured his father’s creation, a beloved, very Gallic and very civilized elephant named Babar, for nearly seven decades — sending him, among other places, into a haunted castle, to New York City and into outer space — died on Friday at his home in Key West, Fla. He was 98.The cause was complications of a stroke, said his wife, Phyllis Rose.Babar was born one night in 1930 in a leafy Paris suburb. Laurent, then 5, and his brother, Mathieu, 4, were having trouble sleeping. Their mother, Cécile de Brunhoff, a pianist and music teacher, began to spin a tale about an orphaned baby elephant who flees the jungle and runs to Paris, which is conveniently located nearby.The boys were enthralled by the story, and in the morning they raced off to tell their father, Jean de Brunhoff, an artist; he embraced the tale and began to sketch the little elephant, whom he named Babar, and flesh out his adventures.Laurent, right, and Mathieu du Brunhoff at about the time their mother first conjured a story about the baby elephant that became Babar.via de Brunhoff familyIn Paris, Jean imagined, Babar is rescued by a rich woman — simply referred to as the Old Lady — who introduces him to all sorts of modern delights. Armed with the Old Lady’s purse, Babar visits a department store, where he rides the elevator up and down, irritating the operator: “This is not a toy, Mr. Elephant.” He buys a suit in “a becoming shade of green” and, though the year is 1930, a pair of spats, the natty, gaitered footwear of a 19th-century gentleman.He drives the Old Lady’s automobile, enjoys a bubble bath and receives lessons in arithmetic and other subjects. But he misses his old life and weeps for his mother, and when his young cousins Arthur and Celeste track him down, he returns to the jungle with them — but not before outfitting Arthur and Celeste in fine clothes of their own.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Top French University Faces Yet Another Crisis as Leader Resigns

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      Mathias Vicherat, the director of Sciences Po, and his former partner are expected to face trial over mutual accusations of violence. His resignation prolongs years of tumult in the school’s highest ranks.One of France’s most elite universities found itself without a leader for the second time in just three years on Wednesday after its director, Mathias Vicherat, resigned to face a court case over accusations of domestic violence.The university, Sciences Po in Paris, has produced five of France’s last eight presidents and over a dozen prime ministers, as well as top business leaders, well-known journalists and scores of high-ranking civil servants. It has been striving to grow even stronger by diversifying its student body and competing internationally for students.But the resignation of Mr. Vicherat, 45, who denied any wrongdoing and said he was stepping down to protect Sciences Po’s standing, was the latest in a series of episodes of internal turmoil that have tarnished the school’s reputation.Mr. Vicherat’s predecessor, Frédéric Mion, stepped down in 2021 after admitting that he had not taken action against a longtime professor and board member despite knowing of incest allegations against him; an investigation into the professor by prosecutors was later dropped because the statute of limitations had expired. The school’s previous director, Richard Descoings, was found dead in a Manhattan hotel room in 2012 — a death that was followed by an embarrassing government audit over the school’s use of public funds.Sciences Po said in a statement on Wednesday that it had “taken note” of Mr. Vicherat’s resignation “to safeguard the institution,” but did not comment on the unrest surrounding his departure.Laurence Bertrand Dorléac, who heads the National Foundation of Political Sciences, a private entity that oversees the university’s budget and governing strategy, said in a message to faculty members and students that a provisional administration would be appointed in the coming days.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Guy Wildenstein, Art Family Patriarch, Found Guilty in Tax Trial

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      Mr. Wildenstein hid a prized art collection and other assets from French authorities to avoid paying millions in inheritance taxes, a Paris court ruled.Guy Wildenstein, the international art dealer, was found guilty in France on Tuesday of massive tax fraud, the latest twist after years of legal entanglements that have unraveled the secrecy that once surrounded his powerful family dynasty.Mr. Wildenstein, 78, the Franco-American patriarch of the family and president of Wildenstein & Co. in New York, was sentenced by the Paris Appeals Court to a four-year prison sentence, with half of it suspended, and the other half to be served under house arrest with an electronic bracelet. The court also sentenced him to pay a one million euro fine, or about $1.08 million.He stood accused of hiding significant chunks of his family’s art collection and other assets in a maze of trusts and shell companies when his father, Daniel, died in 2001, and after his brother, Alec, died in 2008.Prosecutors had said that he was trying to dodge hundreds of millions of euros in inheritance taxes. At the trial, which was held in the fall, they had requested a slightly more lenient prison sentence for Mr. Wildenstein, but they had also requested a much larger €250 million fine, or about $270 million.The Wildensteins, a family of French art dealers spanning five generations, were historically secretive about the exact details of their collection, which has included works by Caravaggio, Fragonard and many other blue-chip artists.Prosecutors said that the family was responsible for “the longest and most sophisticated tax fraud” in modern French history, by concealing art and other assets under complex foreign trusts and by shielding artworks worth millions of dollars in tax havens. By doing this, prosecutors said, the family grossly underestimated its enormous wealth when the time came to pay inheritance taxes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Painter’s Role? Capturing the Sparkle of a Gemstone

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      As one artist wrote: “Luxury is not found in the cold pixels of our phone or computer.”There are myriad words to describe how light enters and reflects in diamonds and gemstones. They glisten and sparkle, twinkle and dazzle. Often they are luminescent, sometimes brilliant and certainly eye-catching.But conveying those sentiments artistically, as in a drawing or painting, requires an entirely different kind of articulation. And as times have changed, so have the techniques used to capture jewelry, as well as the reasons for depicting it.“There is a code to always respect so that the eye can read the volume and the jewelers can understand the design,” Estelle Lagarde, 29, a gouache painter and jewelry designer in the Haute-Savoie region of eastern France, wrote in an email. “The light always comes from the top, at 45 degrees to the left. Thanks to this code, we know where to place the shadows and light.”Ms. Lagarde’s use of that code, which guides artisans turning designers’ ideas into reality, can be seen in her meticulously detailed images of jewelry and watches. She begins each project the same way: making a contour drawing using a software program, “in order to have the exact dimensions of the technical drawing and the contours of the piece.” She then prints the sketch on a sheet of gray paper and fills its curves and spaces using paint pigments and a long, thin hair brush, called a rigger brush, that allows her to paint fine lines and intricate details.She has created artworks for watch brands such as Vacheron Constantin, MB&F and Purnell and for jewelry companies including Messika and her own Lagarde Jewelry. And she always sells her jewelry with its matching painting, and also accepts painting commissions. Currently, a ring called Pop Candy (21,000 euros, or $22,630) is her entry level piece.The Pop Candy ring.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      France Votes on Making Abortion a Constitutional Right

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      Lawmakers are expected to pass an amendment that would give women “guaranteed freedom” to end their pregnancies, something experts say would be a global first.French legislators are expected to pass a measure on Monday that would make France the first country in the world to explicitly enshrine access to abortion in its Constitution.The constitutional amendment requires three-fifths approval of gathered lawmakers from both houses of Parliament to pass. But since 90 percent of lawmakers supported the measure in earlier votes, the vote is widely seen as a formality before a celebration in the regal setting of Versailles Palace, where the joint session of Parliament is being held.The amendment would declare abortion a “guaranteed freedom” overseen by Parliament’s laws. That means future governments would not be able to “drastically modify” current laws funding abortion for women who want it, up to 14 weeks in their pregnancies, according to the French justice minister, Éric Dupond-Moretti.The impulse for the change was the U.S. Supreme Court’s decision to overturn Roe v. Wade in 2022. But it also reflects the widespread support for abortion in France, built over years, and a successful campaign by a coalition of feminist activists and lawmakers.“We are saying today, we don’t envisage a democratic society without the right to abortion — that it’s not an accessory, it’s the core of our society,” said Mélanie Vogel, a senator from the Green Party who was a major force behind the bill. “We are not France anymore without the right to abortion.”Speaking in an interview, Ms. Vogel said, “I want to send a message to feminists outside of France. Everyone told me a year ago it was impossible.” She added: “Nothing is impossible when you mobilize society.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More