Julie Delpy

Julie Delpy was born in Paris, France, on December 21, 1969. An only child, her family environment could not have been more conducive to her acting career, since her father, Albert Delpy , was a theater director, and Marie Pillet earned a living . acting in avant-garde cinema and theater. The debt of gratitude regarding her artistic education was always admitted by Julie: “They raised me in the love of art, taking me to see museums and unusual things for a girl my age. I used to watch Ingmar Bergman movies when I was 9 years old. Undoubtedly a little strong that of seeing a medieval knight play chess with death, but they were the things of bohemian life. It is not surprising that already at the age of 5, little Julie walked around the stages.

Thus, at the age of 14 he made his film debut under the orders of Jean-Luc Godard in Detective (1985). The following year, with Leo Carax, she made Bad Blood , and one year later, under the direction of Bertrand Tavernier , the period film La pasión de Béatrice , in which she was already clearly the protagonist. 1990 will be an important year, as it is directed by the Polish Agnieszka Holland in Europa, Europa , a film where she was a young Nazi in love with a Jew ignorant of this circumstance, and which received an Oscar nomination for her screenplay. It is clear that Delpy made an impression in Poland, since in 1992 she was taking part in Warszawa. Année 5703 , fromJanusz Kijowski , a film also related to the Holocaust, and later she will be required by Krzysztof Kieslowski for his trilogy of colors, specifically for Three Colors: White (1994), where a young woman divorces her impotent husband, who is very much in love with her.

Although he signed up for a Disney version of The Three Musketeers (1993), Delpy’s films are highly intellectual, in keeping with the sucked-up atmosphere in his home. As she explained to me in 2007, “I like to play intelligent women, who are politically engaged. Much more than the typical pretty busty, that doesn’t suit me at all. So I try to write for myself roles that I like. I am comfortable interpreting them.” So we see her in the film by German Percy Adlon Younger and Younger, and to shoot in the United States she opted for Killing Zoe (1994), by the screenwriter, along with Quentin Tarantino , from Pulp Fictionand of very little interest. On the other hand, he will be right when he unites his destiny with that of the independent filmmaker Richard Linklater and the actor Ethan Hawke in Before Dawn (1995), a charming film about the relationship between an American and a French girl who meet while traveling through Austria. The screenplay for the booklet, in which Delpy intervened, was nominated for an Oscar. Converted into a cult title, it would see a late sequel, Before Sunset (2004), which described the reunion of the young protagonists after ten years, and which was also a delight. Also with Linklater, he would be encouraged before to put his voice in the company of Hawke to a character from the strange animated film Waking Life (2001).

It’s funny, but Delpy’s commercial cinema, so to speak, was a patent failure. An American Werewolf in Paris (1997) was intended to repeat the success of An American Werewolf in London , but Anthony Waller ‘s film was light years away from John Landis ‘s . The truth is that Delpy hasn’t quite found the “type” of his films, and he tries TV movies with a more or less literary base, such as Crime and Punishment (1998), The Passion of Ayn Rand (1999) and Frankenstein (2004) . . He even signed up for the television series Emergencies in 2001, repeating the character in seven episodes.

Even if it’s a small role, one of the many women in Bill Murray ‘s life , it’s always a hoot to be in a film as accomplished as Jim Jarmusch ‘s Broken Flowers (2005) . Or her brief intervention in The Big Swindle (2006) , by the Swedish Lasse Hallström . Her participation in the interesting ensemble film Cuatro vidas (2007), about love and destiny, is also fleeting but intense.

With her background as an actress and screenwriter, it is not surprising that Julie Delpy has tried directing, always keeping her acting facet. In 1995 she made a short film that was well received at Sundance, but it was in 2002 that she made her first feature, Looking for Jimmy , which was followed in 2004 by 2 Days in Paris , a film that seems clearly related to her screenwriting adventures with Linklater, although she told me denied in an interview in 2007; in the film she took sharp jabs at popular cutreculture. Curiously, she has just finished shooting her last film as her director, 2 days in New York , a sequel to the aforementioned title, which accentuates the resemblance pointed out. She had previously directed The Countess(2009), where she gives life to a Hungarian noblewoman; in the cast she was accompanied by Daniel Brühl and William Hurt .

More of a degreasing title, in 2012 the film Houba! Le Marsupilami et l’orchidée de Chicxulub , based on the curious comic animal devised by André Franquin .

If acting, writing and directing doesn’t seem like much, it must be said that Delpy, a Los Angeles resident with dual French and American citizenship, also sings and composes. She is romantically linked to the German soundtrack composer Marc Streitenfeld , both have a son named Leo since 2009.