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Her first film roles followed: in Pascal Kane's Liberty Belle; a small part in Jean-Luc Godard's Hail Mary, with her youthful innocence as her selling point; and a more substantial role in Annick Lanoe's Les Nanas.
Carax molded Binoche for the role of Anna in Mauvais Sang, requiring her to adopt a gamin look and to lose weight.While better known for her film roles, Binoche remains tied to the theater where she began her career (she appeared on stage in Paris in 1988 in Chekov's The Seagull, directed by Andrei Konchalovsky).Binoche was urged to audition for films when she was 18 by a casting director who helped her get some bit parts.Despite her success at an early age, Binoche did not emerge overnight.After studying acting for several years she performed in stage productions in the early 1980s and in some television films.Date of birth : 1965-03-09 Date of death : - Birthplace : Paris, France Nationality : French Category : Arts and Entertainment Last modified : 2010-06-16 Credited as : Actress and writer, 1990-Lancôme model for the fragrance Pôeme, Juliette Binoche born March 9, 1965 in Paris, France is a French actress.
Juliette Binoche was introduced to French theater at the age of 12 by her actress-writer mother, with whom her acting studies began.
Her father is a former mime who creates masks for the theater.
Her parents separated when she was two years old, and she believes she was drawn into the theater because it represented a family.
She studied dance and voice, read Balzac, and even changed her laugh.
(Later Carax would cast Binoche as the one-eyed, gun-toting painter, Michele, in Les Amants du Pont Neuf, an unsuccessful, $30 million film which proved to be the most expensive thus far in French history.) Later in the 1980s she reached international fame with her English-language debut, The Unbearable Lightness of Being, based on the Milan Kundera novel, playing a sexual free spirit.
In her next two widely seen roles--in Louis Malle's Damage and Blue, the first film of Krzysztof Kieslowski's Trzy Kolory trilogy--Binoche was not free spirited at all, but rather gave exceptionally passive and solemn portrayals, too detached for many observers.