Plus, a new film from the directors of LOVING VINCENT.
WIFF) is pleased to announce that The Pot-au-Feu will be presented as the Opening Night Film for the 2023 Festival. Juliette Binoche and Benoît Magimel star in this captivating love story full of exquisite cooking and set in a swoon-worthy château. Earlier this year at Cannes, the film was selected to compete for the Palme d’Or in its main competition section, where Tran Anh Hung won the Best Director award.
The 2023 Festival will kick off with The Pot-au-Feu as the Opening Night Film on October 26, 2023 at 6 PM. Tickets for the screening are on sale now.
New at the Festival this year is a featured Centrepiece Film. The inaugural screening will present The Peasants, a new film from the directors of WIFF-favourite Loving Vincent. The film, based on Władysław Reymont’s Polish epic of the same name, premiered at TIFF earlier this fall to critical acclaim. The Hollywood Reporter calls it “A ravishingly beautiful visual triumph.” The painting-animation style of the film is a visual masterpiece and is a must-see on the big screen.
The screening of The Peasants will take place on Wednesday, November 1, 2023 at 7:30 PM. Tickets for the screening are on sale now.
Both films have been submitted to the Oscars by their respective countries.
“It is a thrill to be including both The Pot-au-Feu and The Peasants in our Festival programming this year,” said Vincent Georgie, Executive Director and Chief Programmer for WIFF. “Both films showcase incredible talent both in-front of and behind the camera.”
The 2023 festival will run from Thursday, October 26 to Sunday, November 5, 2023. The 2022 festival is proudly presented by the Toldo Foundation.
The full festival lineup will be revealed on Thursday, October 5, with all tickets going on sale the same day. Following the announcement will be two free community screenings of a selection of WIFF 2023 trailers, hosted at the Capitol Theatre. More information can be found by visiting windsorfilmfestival.com.
Learn more about the films:
From the directors of Loving Vincent, The Peasants is a cinematic pageant about a 19th-century Polish village where a beautiful maiden marries a widowed landowner while nursing a burning love for his son.
Yearning for a world beyond the fertile yet arduous one known to her, a maiden resides with her mother in the picturesque Polish countryside of the 19th century, where the homespun traditions of peasantry date back to antiquity. Full of ornamental song and rapturous dance, and meticulously painted frame after frame, The Peasants is a comic, tragic, and reflective tableau resembling an ancient epic.
Told through seasons that honour the cyclical rituals of ploughing, plantation and harvest, this adaptation of Władysław Reymont’s Nobel Prize–winning novel of the same title recounts the tale of a charming and voluptuous woman named Jagna (Kamila Urzedowska) hungering for love and lacking in cunning. Her home of Lipce, a God-fearing village, is full of characters, including a lecherous mayor, a snooty church organist, and a razor-tongued gossip, and hundreds of storks that, according to lore, foretell the arrival of new life. Here, Jagna creates havoc by marrying a wealthy widower named Boryna (Mirosław Baka), whose children and their families — including the apple of her eye, his brawny son, Antek (Robert Gulaczyk) — work the land and expect inheritance. Jagna’s fate is all but sealed when she breaks one of the few societal taboos. Naturalistic in the best of times and brutal in the worst, The Peasants is a love song to the memories of our ancestors and to timeless matters of the heart.
“The Napoleon of the culinary arts,” Dodin Bouffaunt (Benoit Magimel) is the most renowned gourmand in France, although he would be the first to credit his beloved cook, Eugénie (Juliette Binoche), who makes even his most whimsical conceits sing. Their partnership runs deep; it’s practical, intimate, intuitive, romantic… He’s asked her to marry him many times, she always demurs. But they’re both getting older, perhaps it is time to try again…
Thirty years after his debut feature The Scent of Green Papaya won the Camera d’or at Cannes, Tran Anh Hùng won the Best Director prize at this year’s festival with another delectable movie destined to join Babette’s Feast, Chocolat and Big Night on those lists of great foodie films. The Pot-au-Feu is so beautifully composed you can almost taste it: the mise-en-scene evokes Impressionist paintings, but the camera is agile and alive to the energy and dynamics of the kitchen. And for all its attention to process, the film reveals that this is itself a sublime consummation.
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