Page "Juliette Binoche" Paragraph 15

In 1995, Binoche returned to the screen in a big-budget adaptation of Jean Giono's The Horseman on the Roof directed by Jean-Paul Rappeneau.

The film was particularly significant in France as it was the first French production to use digital special effects and was at the time the most expensive film in the history of French cinema.

The film was a box-office success around the world and Binoche was again nominated for a César for Best Actress.

This role, as a romantic heroine, was to color the direction of many of her subsequent roles in the late 1990s.

In 1996, Binoche appeared in her first comedic role since My Brother-in-Law Killed My Sister a decade before ; A Couch in New York was directed by Chantal Akerman and co-starred William Hurt.

This screw-ball comedy tells the story of a New York psychiatrist who swaps homes with a Parisian dancer.

The film was a critical and commercial failure.

Three Colors: Blue, The Horseman on the Roof and A Couch in New York all gave Binoche the opportunity to work with prestigious directors she had turned down during the prolonged shoot of Les Amants du Pont-Neuf.

Her next role would significantly reinforce her position as a bona fide international movie star, The English Patient, based on the prize winning novel by Michael Ondaatje and directed by Anthony Minghella, was a worldwide hit.

Produced by Saul Zaentz, producer of The Unbearable Lightness of Being, the film reunited Juliette Binoche with Ralph Fiennes, Heathcliff to her Cathy four years previously.

Binoche has said that the shoot on location in Tuscany and at the famed Cinecittà in Rome was among the happiest professional experiences of her career.

The film, which tells the story of a badly burned, mysterious man found in the wreckage of a plane during World War II, won nine Academy Awards, including Best Supporting Actress for Juliette Binoche.

With this film, she became the second French actress to win an Oscar, following Simone Signoret's win for Room at the Top in 1960.

After this international hit, Binoche returned to France and began work opposite Daniel Auteuil on Claude Berri's Lucie Aubrac, the true story of a French Resistance heroine.

Binoche was released from the film six weeks into the shoot due to differences with Berri regarding the authenticity of his script.

Binoche has described this event as being like " an earthquake " to her.