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Backstage

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France · 2005
1h 52m
Director Emmanuelle Bercot
Starring Emmanuelle Seigner, Isild Le Besco, Samuel Benchetrit, Noémie Lvovsky
Genre Drama

An adolescent groupie zeroes in on her Blondie-like idol after the singer chances to cross her orbit on a publicity tour. Gradually their lives intertwine as, with near-operatic intensity, the film delves into the emotional dependency on both sides of celebrity culture.

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What are critics saying?

88

Premiere by Aaron Hillis

Under the clichéd spell of rock-and-roll promiscuity and pills popped, Seigner shows astonishing range as the detached superstar who still fixates on her ex-boyfriend and has mood swings like a manic-depressive on fast-forward.

50

Los Angeles Times by Carina Chocano

As a take on celebrity as religious mass derangement, Backstage is nominally interesting. As a study of two characters, it's not very convincing.

60

Variety by Derek Elley

With its booming soundtrack of songs -- written by Laurent Marimbert and sung by Seigner herself -- and good chemistry between Le Besco and Seigner, pic at times has an operatic emotional intensity that will turn off some viewers but provide a guilty pleasure for others.

60

Village Voice by J. Hoberman

An enjoyably overwrought meditation on the consequences of celebrity and the vicissitudes of fandom, Backstage stars Le Besco as the schoolgirl acolyte of Emmanuelle Seigner's pop diva, a singer-songwriter and high priestess of cheese.

88

TV Guide Magazine by Ken Fox

The line separating "fan" from "fanatic" has never seemed as thin or as permeable as it does in this harrowing, and at times surprisingly humorous, case study from actress-turned-director Emmanuelle Bercot.

75

New York Post by Kyle Smith

There's a pleasing tension in the air as their relationship comes to seem like something of a contest: With two women this needy, who will out-crazy the other?

50

Chicago Tribune by Michael Wilmington

The results aren't gothic and bloody, as they were in the Lauren Bacall film "The Fan," or elegant and ironic as in the Bette Davis classic "All About Eve"--though the plot suggests a bit of both.

42

The A.V. Club by Noel Murray

Bercot moves the characters up and down like lines on a chart, never granting full access to what any of them are thinking. And access is what Backstage promised.

50

The New York Times by Stephen Holden

As long as it focuses on its feverishly needy central characters, neither of whom you would ever want to have as a friend, it remains true to itself.

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