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Mathieu Kassovitz (París, 3 de agosto de 1967) es un actor, guionista, director y productor de cine francés. Es hijo del director francés Peter Kassovitz, de origen judío húngaro, y de Chantal Remy, montadora francesa.
Mathieu Kassovitz est un acteur, réalisateur, producteur de cinéma et scénariste français, né le à Paris . En 1995, il reçoit le César du meilleur espoir masculin pour Regarde les hommes tomber . Il réalise La Haine la même année, le film reçoit trois César, dont celui du meilleur film et du meilleur montage.
Mathieu Kassovitz (French pronunciation: [matjø kasɔvits]; born 3 August 1967) is a French actor, film director, film producer and screenwriter. He has won three César Awards : Most Promising Actor for See How They Fall (1994), and Best Film and Best Editing for La Haine (1995).
Director. Writer. IMDbPro Starmeter See rank. Play trailer 1:27. The Accusation (2021) 27 Videos. 54 Photos. Mathieu Kassovitz was born on 3 August 1967 in Paris, France. He is an actor and director, known for Amélie (2001), La haine (1995) and The Fifth Element (1997). More at IMDbPro. Contact info. Agent info. Resume. Born August 3, 1967.
Desglose por tipo. Acreditado con. Mathieu Kassovitz es un actor y director nacido en el año 1967 en Francia conocido por Amélie, Munich, El quinto elemento, El odio, Gothika, Los ríos de color púrpura, Apocalipsis: La Segunda Guerra Mundial (Miniserie de TV), Babylon, Amén y Apocalipsis: La Primera Guerra Mundial (Miniserie de TV)
Mathieu Kassovitz was born on August 3, 1967 in Paris, France. He is an actor and director, known for Amélie (2001), La haine (1995) and The Fifth Element (1997). Family. Spouse. Julie Mauduech (divorced, 1 child) Children. Carmen Kassovitz. Ava Kassovitz. Max Kassovitz. Parents. Peter Kassovitz. Chantal Rémy. Trivia.
2 de sept. de 2020 · Mathieu Kassovitz on La Haine: “I made the movie because kids die” Twenty-five years after his incendiary portrait of disaffected youth burst on to the screen, the director talks to Kaleem Aftab about the powerful legacy of the film, what he stole from the great directors and why Spielberg needs to turn down the music in his films.
