title: Dell

text: In 2001, Dell and EMC entered into a partnership whereby both companies jointly design products, and Dell provided support for certain EMC products including midrange storage systems, such as fibre channel and iSCSI storage area networks. The relationship also promotes and sells OEM versions of backup, recovery, replication and archiving software. On December 9, 2008, Dell and EMC announced the multi-year extension, through 2013, of the strategic partnership with EMC. In addition, Dell expanded its product lineup by adding the EMC Celerra NX4 storage system to the portfolio of Dell/EMC family of networked storage systems and partnered on a new line of data deduplication products as part of its TierDisk family of data storage devices.


title: Dell

text: On October 17, 2011, Dell discontinued reselling all EMC storage products, ending the partnership 2 years early. Later Dell would acquire and merge with EMC in the largest tech merger to date.


title: Dell

text: Dell committed to reducing greenhouse gas emissions from its global activities by 40% by 2015, with the 2008 fiscal year as the baseline year. It is listed in Greenpeace's Guide to Greener Electronics that scores leading electronics manufacturers according to their policies on sustainability, climate and energy and how green their products are. In November 2011, Dell ranked 2nd out of 15 listed electronics makers (increasing its score to 5.1 from 4.9, which it gained in the previous ranking from October 2010).


title: Dell

text: Dell was the first company to publicly state a timeline for the elimination of toxic polyvinyl chloride (PVC) and brominated flame retardants (BFRs), which it planned to phase out by the end of 2009. It revised this commitment and now aims to remove toxics by the end of 2011 but only in its computing products.


title: Dell

text: In March 2010, Greenpeace activists protested at Dell offices in Bangalore, Amsterdam and Copenhagen calling for Dell's founder and CEO Michael Dell to "drop the toxics" and claiming that Dell's aspiration to be 'the greenest technology company on the planet' was "hypocritical". Dell has launched its first products completely free of PVC and BFRs with the G-Series monitors (G2210 and G2410) in 2009.


title: Dell

text: In its 2012 report on progress relating to conflict minerals, the Enough Project rated Dell the eighth-highest of 24 consumer electronics companies.


title: Dell

text: Dell became the first company in the information technology industry to establish a product-recycling goal (in 2004) and completed the implementation of its global consumer recycling-program in 2006.


title: Dell

text: On February 6, 2007, the National Recycling Coalition awarded Dell its "Recycling Works" award for efforts to promote producer responsibility.


title: Dell

text: On July 19, 2007, Dell announced that it had exceeded targets in working to achieve a multi-year goal of recovering 275 million pounds of computer equipment by 2009. The company reported the recovery of 78 million pounds (nearly 40,000 tons) of IT equipment from customers in 2006, a 93-percent increase over 2005; and 12.4% of the equipment Dell sold seven years earlier.


title: Dell

text: On June 5, 2007, Dell set a goal of becoming the greenest technology company on Earth for the long term. The company launched a zero-carbon initiative that includes:


title: Dell

text: Dell reports its environmental performance in an annual Corporate Social Responsibility (CSR) Report that follows the Global Reporting Initiative (GRI) protocol. Dell's 2008 CSR report ranked as "Application Level B" as "checked by GRI".


title: Dell

text: The company aims to reduce its external environmental impact through an energy-efficient evolution of products, and also reduce its direct operational impact through energy-efficiency programs.


title: Dell

text: In the 1990s, Dell switched from using primarily ATX motherboards and PSU to using boards and power supplies with mechanically identical but differently wired connectors. This meant customers wishing to upgrade their hardware would have to replace parts with scarce Dell-compatible parts instead of commonly available parts. While motherboard power connections reverted to the industry standard in 2003, Dell remains secretive about their motherboard pin-outs for peripherals (such as MMC readers and power on/off switches and LEDs).


title: Dell

text: In 2006, Dell acknowledged that it had problems with customer service. Issues included call transfers


title: Dell

text: of more than 45% of calls and long wait times. Dell's blog detailed the response: "We're spending more than a $100 million—and a lot of blood, sweat, and tears of talented people—to fix this." Later in the year, the company increased its spending on customer service to $150 million. Since 2018, Dell has seen significant increase in consumer satisfaction. Moreover, their customer service has been praised for its prompt and accurate answers to most questions, especially those directed to their social media support.


title: Dell

text: On August 17, 2007, Dell Inc. announced that after an internal investigation into its accounting practices it would restate and reduce earnings from 2003 through to the first quarter of 2007 by a total amount of between $50 million and $150 million, or 2 cents to 7 cents per share. The investigation, begun in November 2006, resulted from concerns raised by the US Securities and Exchange Commission over some documents and information that Dell Inc. had submitted. It was alleged that Dell had not disclosed large exclusivity payments received from Intel for agreeing not to buy processors from rival manufacturer AMD. In 2010 Dell finally paid $100 million to settle the SEC's charges of fraud. Michael Dell and other executives also paid penalties and suffered other sanctions, without admitting or denying the charges.


title: Dell

text: In July 2009, Dell apologized after drawing the ire of the Taiwanese Consumer Protection Commission for twice refusing to honor a flood of orders against unusually low prices offered on its Taiwanese website. In the first instance, Dell offered a 19" LCD panel for $15. In the second instance, Dell offered its Latitude E4300 notebook at NT$18,558 (US$580), 70% lower than the usual price of NT$60,900 (US$1900). Concerning the E4300, rather than honor the discount taking a significant loss, the firm withdrew orders and offered a voucher of up to NT$20,000 (US$625) a customer in compensation. The consumer rights authorities in Taiwan fined Dell NT$1 million (US$31250) for customer rights infringements. Many consumers sued the firm for unfair compensation. A court in southern Taiwan ordered the firm to deliver 18 laptops and 76 flat-panel monitors to 31 consumers for NT$490,000 (US$15,120), less than a third of the normal price. The court said the event could hardly be regarded as mistakes, as the prestigious firm said the company mispriced its products twice in Taiwanese website within 3 weeks.


title: Dell

text: After Michael Dell made a $24.4 billion buyout bid in August 2013, activist shareholder Carl Icahn sued the company and its board in an attempt to derail the bid and promote his own forthcoming offer.


title: Dell

text: In 2020, the Australian Strategic Policy Institute accused at least 82 major brands, including BYD, of being connected to forced Uyghur labor in Xinjiang.


title: Polish language

text: Polish (Polish: "język polski", , "polszczyzna" or simply "polski", ) is a West Slavic language of the Lechitic group written in the Latin script. It is spoken primarily in Poland and serves as the native language of the Poles. In addition to being the official language of Poland, it is also used by the Polish diaspora. There are over 50 million Polish speakers around the world. It ranks as the sixth most-spoken among languages of the European Union. Polish is subdivided into regional dialects and maintains strict T–V distinction pronouns, honorifics, and various forms of formalities when addressing individuals.


title: Polish language

text: The traditional 32-letter Polish alphabet has nine additions ("ą", "ć", "ę", "ł", "ń", "ó", "ś", "ź", "ż") to the letters of the basic 26-letter Latin alphabet, while removing three (x, q, v). Those three letters are at times included in an extended 35-letter alphabet, although they are not used in native words. The traditional set comprises 23 consonants and 9 written vowels, including two nasal vowels ("ę", "ą") defined by a reversed diacritic hook called an "ogonek". Polish is a synthetic and fusional language which has seven grammatical cases. It is one of very few languages in the world possessing continuous penultimate stress (with only a few exceptions) and the only in its group having an abundance of palatal consonants. Contemporary Polish developed in the 1700s as the successor to the medieval Old Polish (10th–16th centuries) and Middle Polish (16th–18th centuries).


title: Polish language

text: Among the major languages, it is most closely related to Slovak and Czech but differs in terms of pronunciation and general grammar. In addition, Polish was profoundly influenced by Latin and other Romance languages like Italian and French as well as Germanic languages (most notably German), which contributed to a large number of loanwords and similar grammatical structures. Extensive usage of nonstandard dialects has also shaped the standard language; considerable colloquialisms and expressions were directly borrowed from German or Yiddish and subsequently adopted into the vernacular of Polish which is in everyday use.


title: Polish language

text: Historically, Polish was a "lingua franca", important both diplomatically and academically in Central and part of Eastern Europe. Today, Polish is spoken by approximately 38 million people as their first language in Poland. It is also spoken as a second language in eastern Germany, northern Czech Republic and Slovakia, western parts of Belarus and Ukraine as well as in southeast Lithuania and Latvia. Because of the emigration from Poland during different time periods, most notably after World War II, millions of Polish speakers can also be found in countries such as Canada, Argentina, Brazil, Israel, Australia, the United Kingdom and the United States.


title: Polish language

text: Polish began to emerge as a distinct language around the 10th century, the process largely triggered by the establishment and development of the Polish state. Mieszko I, ruler of the Polans tribe from the Greater Poland region, united a few culturally and linguistically related tribes from the basins of the Vistula and Oder before eventually accepting baptism in 966. With Christianity, Poland also adopted the Latin alphabet, which made it possible to write down Polish, which until then had existed only as a spoken language.


title: Polish language

text: The precursor to modern Polish is the Old Polish language. Ultimately, Polish descends from the unattested Proto-Slavic language. Polish was a "lingua franca" from 1500 to 1700 in Central and parts of Eastern Europe, because of the political, cultural, scientific and military influence of the former Polish–Lithuanian Commonwealth.


title: Polish language

text: The Book of Henryków (Polish: , ), contains the earliest known sentence written in the Polish language: "Day, ut ia pobrusa, a ti poziwai" (in modern orthography: "Daj, uć ja pobrusza, a ti pocziwaj"; the corresponding sentence in modern Polish: "Daj, niech ja pomielę, a ty odpoczywaj" or "Pozwól, że ja będę mełł, a ty odpocznij"; and in English: "Come, let me grind, and you take a rest"), written around 1270.


title: Polish language

text: The medieval recorder of this phrase, the Cistercian monk Peter of the Henryków monastery, noted that "Hoc est in polonico" ("This is in Polish").


title: Polish language

text: Poland is one of the most linguistically homogeneous European countries; nearly 97% of Poland's citizens declare Polish as their first language. Elsewhere, Poles constitute large minorities in areas which were once administered or occupied by Poland, notably in neighboring Lithuania, Belarus, and Ukraine. Polish is the most widely-used minority language in Lithuania's Vilnius County, by 26% of the population, according to the 2001 census results, as Vilnius was part of Poland from 1922 until 1939. Polish is found elsewhere in southeastern Lithuania. In Ukraine, it is most common in the western parts of Lviv and Volyn Oblasts, while in West Belarus it is used by the significant Polish minority, especially in the Brest and Grodno regions and in areas along the Lithuanian border. There are significant numbers of Polish speakers among Polish emigrants and their descendants in many other countries.


title: Polish language

text: In the United States, Polish Americans number more than 11 million but most of them cannot speak Polish fluently. According to the 2000 United States Census, 667,414 Americans of age five years and over reported Polish as the language spoken at home, which is about 1.4% of people who speak languages other than English, 0.25% of the US population, and 6% of the Polish-American population. The largest concentrations of Polish speakers reported in the census (over 50%) were found in three states: Illinois (185,749), (111,740), and New Jersey (74,663). Enough people in these areas speak Polish that PNC Financial Services (which has a large number of branches in all of these areas) offers services available in Polish at all of their cash machines in addition to English and Spanish.


title: Polish language

text: According to the 2011 census there are now over 500,000 people in England and Wales who consider Polish to be their "main" language. In Canada, there is a significant Polish Canadian population: There are 242,885 speakers of Polish according to the 2006 census, with a particular concentration in Toronto (91,810 speakers) and Montreal.


title: Polish language

text: The geographical distribution of the Polish language was greatly affected by the territorial changes of Poland immediately after World War II and Polish population transfers (1944–46). Poles settled in the "Recovered Territories" in the west and north, which had previously been mostly German-speaking. Some Poles remained in the previously Polish-ruled territories in the east that were annexed by the USSR, resulting in the present-day Polish-speaking minorities in Lithuania, Belarus, and Ukraine, although many Poles were expelled or emigrated from those areas to areas within Poland's new borders. To the east of Poland, the most significant Polish minority lives in a long, narrow strip along either side of the Lithuania-Belarus border. Meanwhile, the flight and expulsion of Germans (1944–50), as well as the expulsion of Ukrainians and Operation Vistula, the 1947 forced resettlement of Ukrainian minorities to the Recovered Territories in the west of the country, contributed to the country's linguistic homogeneity.


title: Polish language

text: The inhabitants of different regions of Poland speak Polish somewhat differently, although the differences between modern-day vernacular varieties and standard Polish () appear relatively slight. Most of the middle aged and young speak vernaculars close to standard Polish, while the traditional dialects are preserved among older people in rural areas. First-language speakers of Polish have no trouble understanding each other, and non-native speakers may have difficulty recognizing the regional and social differences. The modern standard dialect, often termed as "correct Polish", is spoken or at least understood throughout the entire country.


title: Polish language

text: Kashubian, spoken in Pomerania west of Gdańsk on the Baltic Sea, is thought of either as a fifth Polish dialect or a distinct language, depending on the criteria used. It contains a number of features not found elsewhere in Poland, e.g. nine distinct oral vowels (vs. the five of standard Polish) and (in the northern dialects) phonemic word stress, an archaic feature preserved from Common Slavic times and not found anywhere else among the West Slavic languages. However, it "lacks most of the linguistic and social determinants of language-hood".


title: Polish language

text: Many linguistic sources categorize Silesian as a dialect of Polish. However, many Silesians consider themselves a separate ethnicity and have been advocating for the recognition of a Silesian language. According to the last official census in Poland in 2011, over half a million people declared Silesian as their native language. Many sociolinguists (e.g. Tomasz Kamusella, Agnieszka Pianka, Alfred F. Majewicz, Tomasz Wicherkiewicz) assume that extralinguistic criteria decide whether a lect is an independent language or a dialect: speakers of the speech variety or/and political decisions, and this is dynamic (i.e. it changes over time). Also, research organizations such as SIL International and resources for the academic field of linguistics such as Ethnologue, Linguist List and others, for example the Ministry of Administration and Digitization recognized the Silesian language. In July 2007, the Silesian language was recognized by ISO, and was attributed an ISO code of szl.


title: Polish language

text: Polish linguistics has been characterized by a strong strive towards promoting prescriptive ideas of language intervention and usage uniformity, along with normatively-oriented notions of language "correctness" (unusual by Western standards).


title: Polish language

text: Polish has six oral vowels (seven oral vowels in written form), which are all monophthongs, and two nasal vowels. The oral vowels are (spelled "i"), (spelled "y" and also transcribed as /ɘ/), (spelled "e"), (spelled "a"), (spelled "o") and (spelled "u" and "ó" as separate letters). The nasal vowels are (spelled "ę") and (spelled "ą"). Unlike Czech or Slovak, Polish does not retain phonemic vowel length — the letter "ó", which formerly represented lengthened /ɔ/ in older forms of the language, is now vestigial and instead corresponds to /u/.


title: Polish language

text: The Polish consonant system shows more complexity: its characteristic features include the series of affricate and palatal consonants that resulted from four Proto-Slavic palatalizations and two further palatalizations that took place in Polish. The full set of consonants, together with their most common spellings, can be presented as follows (although other phonological analyses exist):


title: Polish language

text: Neutralization occurs between voiced–voiceless consonant pairs in certain environments, at the end of words (where devoicing occurs) and in certain consonant clusters (where assimilation occurs). For details, see "Voicing and devoicing" in the article on Polish phonology.


title: Polish language

text: Most Polish words are paroxytones (that is, the stress falls on the second-to-last syllable of a polysyllabic word), although there are exceptions.


title: Polish language

text: Polish permits complex consonant clusters, which historically often arose from the disappearance of yers. Polish can have word-initial and word-medial clusters of up to four consonants, whereas word-final clusters can have up to five consonants. Examples of such clusters can be found in words such as "bezwzględny" ('absolute' or 'heartless', 'ruthless'), "źdźbło" ('blade of grass'), ('shock'), and "krnąbrność" ('disobedience'). A popular Polish tongue-twister (from a verse by Jan Brzechwa) is ('In Szczebrzeszyn a beetle buzzes in the reed').


title: Polish language

text: Unlike languages such as Czech, Polish does not have syllabic consonants – the nucleus of a syllable is always a vowel.


title: Polish language

text: The predominant stress pattern in Polish is penultimate stress – in a word of more than one syllable, the next-to-last syllable is stressed. Alternating preceding syllables carry secondary stress, e.g. in a four-syllable word, where the primary stress is on the third syllable, there will be secondary stress on the first.


title: Polish language

text: Each vowel represents one syllable, although the letter "i" normally does not represent a vowel when it precedes another vowel (it represents , palatalization of the preceding consonant, or both depending on analysis). Also the letters "u" and "i" sometimes represent only semivowels when they follow another vowel, as in "autor" ('author'), mostly in loanwords (so not in native "nauka" 'science, the act of learning', for example, nor in nativized "Mateusz" 'Matthew').


title: Polish language

text: Some loanwords, particularly from the classical languages, have the stress on the antepenultimate (third-from-last) syllable. For example, "fizyka" () ('physics') is stressed on the first syllable. This may lead to a rare phenomenon of minimal pairs differing only in stress placement, for example "muzyka" 'music' vs. "muzyka" – genitive singular of "muzyk" 'musician'. When additional syllables are added to such words through inflection or suffixation, the stress normally becomes regular. For example, "uniwersytet" (, 'university') has irregular stress on the third (or antepenultimate) syllable, but the genitive "uniwersytetu" () and derived adjective "uniwersytecki" () have regular stress on the penultimate syllables. Loanwords generally become nativized to have penultimate stress. In psycholinguistic experiments, speakers of Polish have been demonstrated to be sensitive to the distinction between regular penultimate and exceptional antepenultimate stress.


title: Polish language

text: Another class of exceptions is verbs with the conditional endings "-by, -bym, -byśmy", etc. These endings are not counted in determining the position of the stress; for example, zrobiłbym" ('I would do') is stressed on the first syllable, and "zrobilibyśmy" ('we would do') on the second. According to prescriptive authorities, the same applies to the first and second person plural past tense endings "-śmy, -ście", although this rule is often ignored in colloquial speech (so "zrobiliśmy" 'we did' should be prescriptively stressed on the second syllable, although in practice it is commonly stressed on the third as "zrobiliśmy"). These irregular stress patterns are explained by the fact that these endings are detachable clitics rather than true verbal inflections: for example, instead of kogo zobaczyliście?" ('whom did you see?') it is possible to say "kogoście zobaczyli?" – here "kogo" retains its usual stress (first syllable) in spite of the attachment of the clitic. Reanalysis of the endings as inflections when attached to verbs causes the different colloquial stress patterns. These stress patterns are considered part of a "usable" norm of standard Polish - in contrast to the "model" ("high") norm.


title: Polish language

text: Some common word combinations are stressed as if they were a single word. This applies in particular to many combinations of preposition plus a personal pronoun, such as do niej" ('to her'), na nas" ('on us'), "przeze mnie" ('because of me'), all stressed on the bolded syllable.


title: Polish language

text: The Polish alphabet derives from the Latin script but includes certain additional letters formed using diacritics. The Polish alphabet was one of three major forms of Latin-based orthography developed for Western and some South Slavic languages, the others being Czech orthography and Croatian orthography, the last of these being a 19th-century invention trying to make a compromise between the first two. Kashubian uses a Polish-based system, Slovak uses a Czech-based system, and Slovene follows the Croatian one; the Sorbian languages blend the Polish and the Czech ones.


title: Polish language

text: Historically, Poland's once diverse and multi-ethnic population utilized many forms of scripture to write Polish. For instance, Lipka Tatars and Muslims inhabiting the eastern parts of the former Polish–Lithuanian Commonwealth wrote Polish in the Arabic alphabet. The Cyrillic script is used to a certain extent by Polish speakers in Western Belarus, especially for religious texts.


title: Polish language

text: The diacritics used in the Polish alphabet are the "kreska" (graphically similar to the acute accent) over the letters "ć, ń, ó, ś, ź" and through the letter in "ł"; the "kropka" (superior dot) over the letter "ż", and the "ogonek" ("little tail") under the letters "ą, ę". The letters "q, v, x" are used only in foreign words and names.


title: Polish language

text: Polish orthography is largely phonemic—there is a consistent correspondence between letters (or digraphs and trigraphs) and phonemes (for exceptions see below). The letters of the alphabet and their normal phonemic values are listed in the following table.


title: Polish language

text: Voiced consonant letters frequently come to represent voiceless sounds (as shown in the tables); this occurs at the end of words and in certain clusters, due to the neutralization mentioned in the "Phonology" section above. Occasionally also voiceless consonant letters can represent voiced sounds in clusters.


title: Polish language

text: The spelling rule for the palatal sounds , , , and is as follows: before the vowel "i" the plain letters "s, z, c, dz, n" are used; before other vowels the combinations "si, zi, ci, dzi, ni" are used; when not followed by a vowel the diacritic forms "ś, ź, ć, dź, ń" are used. For example, the "s" in "siwy" ("grey-haired"), the "si" in "siarka" ("sulfur") and the "ś" in "święty" ("holy") all represent the sound . The exceptions to the above rule are certain loanwords from Latin, Italian, French, Russian or English—where "s" before "i" is pronounced as "s", e.g. "sinus", "sinologia", "do re mi fa sol la si do", "Saint-Simon i saint-simoniści", "Sierioża", "Siergiej", "Singapur", "singiel". In other loanwords the vowel "i" is changed to "y", e.g. "Syria", "Sybir", "synchronizacja", "Syrakuzy".


title: Polish language

text: Similar principles apply to , , and , except that these can only occur before vowels, so the spellings are "k, g, (c)h, l" before "i", and "ki, gi, (c)hi, li" otherwise. Most Polish speakers, however, do not consider palatalization of "k, g, (c)h" or "l" as creating new sounds.


title: Polish language

text: Except in the cases mentioned above, the letter "i" if followed by another vowel in the same word usually represents , yet a palatalization of the previous consonant is always assumed.


title: Polish language

text: The reverse case, where the consonant remains unpalatalized but is followed by a palatalized consonant, is written by using "j" instead of "i": for example, "zjeść", "to eat up".


title: Polish language

text: The letters "ą" and "ę", when followed by plosives and affricates, represent an oral vowel followed by a nasal consonant, rather than a nasal vowel. For example, "ą" in "dąb" ("oak") is pronounced , and "ę" in "tęcza" ("rainbow") is pronounced (the nasal assimilates to the following consonant). When followed by "l" or "ł" (for example "przyjęli", "przyjęły"), "ę" is pronounced as just "e". When "ę" is at the end of the word it is often pronounced as just .


title: Polish language

text: Note that, depending on the word, the phoneme can be spelt "h" or "ch", the phoneme can be spelt "ż" or "rz", and can be spelt "u" or "ó". In several cases it determines the meaning, for example: "może" ("maybe") and "morze" ("sea").


title: Polish language

text: In occasional words, letters that normally form a digraph are pronounced separately. For example, "rz" represents , not , in words like "zamarzać" ("freeze") and in the name "Tarzan".


title: Polish language

text: Doubled letters are usually pronounced as a single, lengthened consonant, however, some speakers might pronounce the combination as two separate sounds.


title: Polish language

text: There are certain clusters where a written consonant would not be pronounced. For example, the "ł" in the word "jabłko" ("apple") might be omitted in ordinary speech, leading to the pronunciation "japko".


title: Polish language

text: Polish is a highly fusional language with relatively free word order, although the dominant arrangement is subject–verb–object (SVO). There are no articles, and subject pronouns are often dropped.


title: Polish language

text: Nouns belong to one of three genders: masculine, feminine and neuter. The masculine gender is also divided into subgenders : animate vs inanimate in the singular, human vs nonhuman in the plural. There are seven cases: nominative, genitive, dative, accusative, instrumental, locative and vocative.


title: Polish language

text: Adjectives agree with nouns in terms of gender, case, and number. Attributive adjectives most commonly precede the noun, although in certain cases, especially in fixed phrases (like "język polski", "Polish (language)"), the noun may come first; the rule of thumb is that generic descriptive adjective normally precedes (e.g. "piękny kwiat", "beautiful flower") while categorizing adjective often follows the noun (e.g. "węgiel kamienny", "black coal"). Most short adjectives and their derived adverbs form comparatives and superlatives by inflection (the superlative is formed by prefixing "naj-" to the comparative).


title: Polish language

text: Verbs are of imperfective or perfective aspect, often occurring in pairs. Imperfective verbs have a present tense, past tense, compound future tense (except for "być" "to be", which has a simple future "będę" etc., this in turn being used to form the compound future of other verbs), subjunctive/conditional (formed with the detachable particle "by"), imperatives, an infinitive, present participle, present gerund and past participle. Perfective verbs have a simple future tense (formed like the present tense of imperfective verbs), past tense, subjunctive/conditional, imperatives, infinitive, present gerund and past participle. Conjugated verb forms agree with their subject in terms of person, number, and (in the case of past tense and subjunctive/conditional forms) gender.


title: Polish language

text: Passive-type constructions can be made using the auxiliary "być" or "zostać" ("become") with the passive participle. There is also an impersonal construction where the active verb is used (in third person singular) with no subject, but with the reflexive pronoun "się" present to indicate a general, unspecified subject (as in "pije się wódkę" "vodka is being drunk"—note that "wódka" appears in the accusative). A similar sentence type in the past tense uses the passive participle with the ending "-o", as in "widziano ludzi" ("people were seen"). As in other Slavic languages, there are also subjectless sentences formed using such words as "można" ("it is possible") together with an infinitive.


title: Polish language

text: Yes-no questions (both direct and indirect) are formed by placing the word "czy" at the start. Negation uses the word "nie", before the verb or other item being negated; "nie" is still added before the verb even if the sentence also contains other negatives such as "nigdy" ("never") or "nic" ("nothing"), effectively creating a double negative.


title: Polish language

text: Cardinal numbers have a complex system of inflection and agreement. Zero and cardinal numbers higher than five (except for those ending with the digit 2, 3 or 4 but not ending with 12, 13 or 14) govern the genitive case rather than the nominative or accusative. Special forms of numbers (collective numerals) are used with certain classes of noun, which include "dziecko" ("child") and exclusively plural nouns such as "drzwi" ("door").


title: Polish language

text: Polish has, over the centuries, borrowed a number of words from other languages. When borrowing, pronunciation was adapted to Polish phonemes and spelling was altered to match Polish orthography. In addition, word endings are liberally applied to almost any word to produce verbs, nouns, adjectives, as well as adding the appropriate endings for cases of nouns, adjectives, diminutives, double-diminutives, augmentatives, etc.


title: Polish language

text: Depending on the historical period, borrowing has proceeded from various languages. Notable influences have been Latin (10th–18th centuries), Czech (10th and 14th–15th centuries), Italian (16th–17th centuries), French (17th–19th centuries), German (13–15th and 18th–20th centuries), Hungarian (15th–16th centuries) and Turkish (17th century). Currently, English words are the most common imports to Polish.


title: Polish language

text: The Latin language, for a very long time the only official language of the Polish state, has had a great influence on Polish. Many Polish words were direct borrowings or calques (e.g. "rzeczpospolita" from "res publica") from Latin. Latin was known to a larger or smaller degree by most of the numerous szlachta in the 16th to 18th centuries (and it continued to be extensively taught at secondary schools until World War II). Apart from dozens of loanwords, its influence can also be seen in a number of verbatim Latin phrases in Polish literature (especially from the 19th century and earlier).


title: Polish language

text: During the 12th and 13th centuries, Mongolian words were brought to the Polish language during wars with the armies of Genghis Khan and his descendants, e.g. "dzida" (spear) and "szereg" (a line or row).


title: Polish language

text: Words from Czech, an important influence during the 10th and 14th–15th centuries include "sejm", "hańba" and "brama".


title: Polish language

text: In 1518, the Polish king Sigismund I the Old married Bona Sforza, the niece of the Holy Roman emperor Maximilian, who introduced Italian cuisine to Poland, especially vegetables. Hence, words from Italian include "pomidor" from "pomodoro" (tomato), "kalafior" from "cavolfiore" (cauliflower), and "pomarańcza", a portmanteau from Italian "pomo" (pome) plus "arancio" (orange). A later word of Italian origin is "autostrada" (from Italian "autostrada", highway).


title: Polish language

text: In the 18th century, with the rising prominence of France in Europe, French supplanted Latin as an important source of words. Some French borrowings also date from the Napoleonic era, when the Poles were enthusiastic supporters of Napoleon. Examples include "ekran" (from French "écran", screen), "abażur" ("abat-jour", lamp shade), "rekin" ("requin", shark), "meble" ("meuble", furniture), "bagaż" ("bagage", luggage), "walizka" ("valise", suitcase), "fotel" ("fauteuil", armchair), "plaża" ("plage", beach) and "koszmar" ("cauchemar", nightmare). Some place names have also been adapted from French, such as the Warsaw borough of Żoliborz ("joli bord" = beautiful riverside), as well as the town of Żyrardów (from the name Girard, with the Polish suffix -ów attached to refer to the founder of the town).


title: Polish language

text: Many words were borrowed from the German language from the sizable German population in Polish cities during medieval times. German words found in the Polish language are often connected with trade, the building industry, civic rights and city life. Some words were assimilated verbatim, for example "handel" (trade) and "dach" (roof); others are pronounced similarly, but differ in writing "Schnur"—"sznur" (cord). As a result of being neighbors with Germany, Polish has many German expressions which have become literally translated (calques). The regional dialects of Upper Silesia and Masuria (Modern Polish East Prussia) have noticeably more German loanwords than other varieties.


title: Polish language

text: The contacts with Ottoman Turkey in the 17th century brought many new words, some of them still in use, such as: "jar" ("yar" deep valley), "szaszłyk" ("şişlik" shish kebab), "filiżanka" ("fincan" cup), "arbuz" ("karpuz" watermelon), "dywan" ("divan" carpet), etc.


title: Polish language

text: From the founding of the Kingdom of Poland in 1025 through the early years of the Polish–Lithuanian Commonwealth created in 1569, Poland was the most tolerant country of Jews in Europe. Known as the "paradise for the Jews", it became a shelter for persecuted and expelled European Jewish communities and the home to the world's largest Jewish community of the time. As a result, many Polish words come from Yiddish, spoken by the large Polish Jewish population that existed until the Holocaust. Borrowed Yiddish words include "bachor" (an unruly boy or child), "bajzel" (slang for mess), "belfer" (slang for teacher), "ciuchy" (slang for clothing), "cymes" (slang for very tasty food), "geszeft" (slang for business), "kitel" (slang for apron), "machlojka" (slang for scam), "mamona" (money), "manele" (slang for oddments), "myszygene" (slang for lunatic), "pinda" (slang for girl, pejoratively), "plajta" (slang for bankruptcy), "rejwach" (noise), "szmal" (slang for money), and "trefny" (dodgy).


title: Polish language

text: The mountain dialects of the Górale in southern Poland, have quite a number of words borrowed from Hungarian (e.g. "baca", "gazda", "juhas", "hejnał") and Romanian as a result of historical contacts with Hungarian-dominated Slovakia and Wallachian herders who travelled north along the Carpathians.


title: Polish language

text: Thieves' slang includes such words as "kimać" (to sleep) or "majcher" (knife) of Greek origin, considered then unknown to the outside world.


title: Polish language

text: In addition, Turkish and Tatar have exerted influence upon the vocabulary of war, names of oriental costumes etc. Russian borrowings began to make their way into Polish from the second half of the 19th century on.


title: Polish language

text: Polish has also received an intensive number of English loanwords, particularly after World War II. Recent loanwords come primarily from the English language, mainly those that have Latin or Greek roots, for example (computer), (from 'corruption', but sense restricted to 'bribery') etc. Concatenation of parts of words (e.g. "auto-moto"), which is not native to Polish but common in English, for example, is also sometimes used. When borrowing English words, Polish often changes their spelling. For example, Latin suffix '-tio' corresponds to "-cja". To make the word plural, "-cja" becomes "-cje". Examples of this include "inauguracja" (inauguration), "dewastacja" (devastation), "recepcja" (reception), "konurbacja" (conurbation) and "konotacje" (connotations). Also, the digraph "qu" becomes "kw" ("kwadrant" = quadrant; "kworum" = quorum).


title: Polish language

text: The Polish language has influenced others. Particular influences appear in other Slavic languages and in German — due to their proximity and shared borders. Examples of loanwords include German "Grenze" (border), Dutch and Afrikaans "grens" from Polish "granica"; German "Peitzker" from Polish "piskorz" (weatherfish); German "Zobel", French "zibeline", Swedish "sobel", and English "sable" from Polish "soból"; and "ogonek" ("little tail") — the word describing a diacritic hook-sign added below some letters in various alphabets. The common Germanic word "quartz" comes from the dialectical Old Polish "kwardy". "," a Polish, Slovak and Ruthenian word for "mop" or "rag", became part of Yiddish. The Polish language exerted significant lexical influence upon Ukrainian, particularly in the fields of abstract and technical terminology; for example, the Ukrainian word "panstvo" (country) is derived from Polish . The Polish influence on Ukrainian is particularly marked on western Ukrainian dialects in western Ukraine, which for centuries was under Polish cultural domination.


title: Polish language

text: There is a substantial number of Polish words which officially became part of Yiddish, once the main language of European Jews. These include basic items, objects or terms such as a bread bun (Polish "bułka", Yiddish בולקע "bulke"), a fishing rod ("wędka", ווענטקע "ventke"), an oak ("dąb", דעמב "demb"), a meadow ("łąka", לאָנקע "lonke"), a moustache ("wąsy", וואָנצעס "vontses") and a bladder ("pęcherz", פּענכער "penkher").


title: Polish language

text: Quite a few culinary loanwords exist in German and in other languages, some of which describe distinctive features of Polish cuisine. These include German and English "Quark" from "twaróg" (a kind of fresh cheese) and German "Gurke", English "gherkin" from "ogórek" (cucumber). The word "pierogi" (Polish dumplings) has spread internationally, as well as "pączki" (Polish donuts) and kiełbasa (sausage, e.g. "kolbaso" in Esperanto). As far as "pierogi" concerned, the original Polish word is already in plural (sing. "pieróg", plural "pierogi"; stem "pierog-", plural ending "-i"; NB. "o" becomes "ó" in a closed syllable, like here in singular), yet it is commonly used with the English plural ending "-s" in Canada and United States of America, "pierogis", thus making it a "double plural". A similar situation happened with the Polish loanword from English "czipsy" ("potato chips")—from English "chips" being already plural in the original ("chip" + "-s"), yet it has obtained the Polish plural ending "-y".


title: Polish language

text: It is believed that the English word "spruce" was derived from "Prusy", the Polish name for the region of Prussia. It became "spruce" because in Polish, "z Prus", sounded like "spruce" in English (transl. "from Prussia") and was a generic term for commodities brought to England by Hanseatic merchants and because the tree was believed to have come from Polish Ducal Prussia. However, it can be argued that the word is actually derived from the Old French term "Pruce", meaning literally Prussia.


title: Polish language

text: The Polish language started to be used in literature in the Late Middle Ages. Notable works include the "Holy Cross Sermons" (13th/14th century), "Bogurodzica" (15th century) and "Master Polikarp's Dialog with Death" (15th century). The most influential Renaissance-era literary figures in Poland were poet Jan Kochanowski ("Laments"), Mikołaj Rej and Piotr Skarga ("The Lives of the Saints") who established poetic patterns that would become integral to the Polish literary language and laid foundations for the modern Polish grammar. During the Age of Enlightenment in Poland, Ignacy Krasicki, known as "the Prince of Poets", wrote the first Polish novel called "The Adventures of Mr. Nicholas Wisdom" as well as "Fables and Parables". Another significant work form this period is "The Manuscript Found in Saragossa" written by Jan Potocki, a Polish nobleman, Egyptologist, linguist, and adventurer.


title: Polish language

text: In the Romantic Era, the most celebrated national poets, referred to as the Three Bards, were Adam Mickiewicz ("Pan Tadeusz" and "Dziady"), Juliusz Słowacki ("Balladyna") and Zygmunt Krasiński ("The Undivine Comedy"). Poet and dramatist Cyprian Norwid is regarded by some scholars as the "Fourth Bard". Important positivist writers include Bolesław Prus ("The Doll", "Pharaoh"), Henryk Sienkiewicz (author of numerous historical novels the most internationally acclaimed of which is "Quo Vadis"), Maria Konopnicka ("Rota"), Eliza Orzeszkowa ("Nad Niemnem"), Adam Asnyk and Gabriela Zapolska ("The Morality of Mrs. Dulska"). The period known as Young Poland produced such renowned literary figures as Stanisław Wyspiański ("The Wedding"), Stefan Żeromski ("Homeless People", "The Spring to Come"), Władysław Reymont ("The Peasants") and Leopold Staff. The prominent interbellum period authors include Maria Dąbrowska ("Nights and Days"), Stanisław Ignacy Witkiewicz ("Insatiability"), Julian Tuwim, Bruno Schulz, Bolesław Leśmian, Witold Gombrowicz and Zuzanna Ginczanka.


title: Polish language

text: Other notable writers and poets from Poland active during World War II and after are Zbigniew Herbert, Stanisław Lem, Zofia Nałkowska, Tadeusz Borowski, Sławomir Mrożek, Krzysztof Kamil Baczyński, Julia Hartwig, Marek Krajewski, Joanna Bator, Andrzej Sapkowski, Adam Zagajewski, Dorota Masłowska, Jerzy Pilch, Ryszard Kapuściński and Andrzej Stasiuk.


title: Polish language

text: Five people writing in the Polish language have been awarded the Nobel Prize in Literature: Henryk Sienkiewicz (1905), Władysław Reymont (1924), Czesław Miłosz (1980), Wisława Szymborska (1996) and Olga Tokarczuk (2018).


title: AGM-114 Hellfire

text: The AGM-114 Hellfire is an air-to-ground missile (AGM) first developed for anti-armor use, later developed for precision drone strikes against other target types, especially high-value targets. It was originally developed under the name "Heliborne laser, fire-and-forget missile", which led to the colloquial name "Hellfire" ultimately becoming the missile's formal name. It has a multi-mission, multi-target precision-strike ability and can be launched from multiple air, sea, and ground platforms, including the Predator drone. The Hellfire missile is the primary class air-to-ground precision weapon for the armed forces of the United States and many other nations. It has also been fielded on surface platforms in the surface-to-surface and surface-to-air roles.


title: AGM-114 Hellfire

text: Most variants are laser-guided, with one variant, the AGM-114L "Longbow Hellfire", being radar-guided. Laser guidance can be provided either from the launcher, such as the nose-mounted opto-electronics of the AH-64 Apache attack helicopter, other airborne target designators or from ground-based observers, the latter two options allowing the launcher to break line of sight with the target and seek cover.


title: AGM-114 Hellfire

text: The development of the Hellfire Missile System began in 1974 with the United States Army requirement for a "tank-buster", launched from helicopters to defeat armored fighting vehicles.


title: AGM-114 Hellfire

text: The Hellfire II, developed in the early 1990s is a modular missile system with several variants, and entered service with the U.S. Army in 1996. Hellfire II's semi-active laser variants—AGM-114K high-explosive anti-tank (HEAT), AGM-114KII with external blast fragmentation sleeve, AGM-114M (blast fragmentation), and AGM-114N metal augmented charge (MAC)—achieve pinpoint accuracy by homing in on a reflected laser beam aimed at the target. The General Atomics MQ-1 Predator and MQ-9 Reaper unmanned combat aerial vehicles (UCAVs) carry the Hellfire II, but the most common platform is the AH-1Z Viper helicopter gunship, which can carry up to 16 of them. The AGM-114L, or Longbow Hellfire, is a fire-and-forget weapon: equipped with a millimeter-wave (MMW) active radar homing, it requires no further guidance after launch—even being able to lock on to its target after launch—and can hit its target without the launcher or other friendly unit being in line of sight of the target. It also works in adverse weather and battlefield obscurants, such as smoke and fog, which can mask the position of a target or prevent a designating laser from forming a detectable reflection. Each Hellfire weighs , including the warhead, and has a range of depending on trajectory.


title: AGM-114 Hellfire

text: The AGM-114R "Romeo" Hellfire II entered service in late 2012. It uses a semi-active laser homing guidance system and a K-charge multipurpose warhead to engage targets that formerly needed multiple Hellfire variants. It will replace AGM-114K, M, N, and P variants in U.S. service.


title: AGM-114 Hellfire

text: In October 2012, the U.S. ordered 24,000 Hellfire II missiles, for both the U.S. armed forces and foreign customers.


title: AGM-114 Hellfire

text: A possible new JCM successor called the Joint Air to Ground Missile (JAGM) is under consideration. Due to budget reductions, JAGM development was separated into increments, with increment 1 focusing on adding a millimeter-wave radar to the Hellfire-R to give it a dual-mode seeker, enabling it to track moving targets in bad weather.


title: AGM-114 Hellfire

text: In 2009, the British Ministry of Defence (MoD) acknowledged that Army Air Corps (AAC) AgustaWestland Apaches had used AGM-114 Hellfire missiles against Taliban forces in Afghanistan. The MoD stated that 20 missiles were used in 2008 and a further 20 in 2009. In the British Parliament, Liberal Democrat politician Nick Harvey argued that the "Parliament must be reassured these are a weapon of last resort."


title: AGM-114 Hellfire

text: AGM-114 Hellfire missiles were used to kill Hamas leader Ahmed Yassin by the Israeli Air Force (IAF) in 2004, and by the US military to kill American-born Islamic cleric Anwar al-Awlaki in Yemen in 2011, Al-Qaeda operative Abu Yahya al-Libi in Pakistan in 2012, al-Shabaab militant Mukhtar Abu Zubair in Somalia in 2014, and British ISIL executioner Mohammed Emwazi (also known as "Jihadi John") in Syria in 2015. They were also used in the Assassination of Qasem Soleimani as well as the Killing of Ayman al-Zawahiri.


title: AGM-114 Hellfire

text: The AGM-114 has occasionally been used as an air-to-air missile. The first operational air-to-air kill with a Hellfire took place on 24 May 2001, after a civilian Cessna 152 aircraft entered Israeli airspace from Lebanon, with unknown intentions and refusing to answer or comply with ATC repeated warnings to turn back. An Israeli Air Force AH-64A Apache helicopter fired on the Cessna, resulting in its complete disintegration. The second operational air-to-air kill with a Hellfire occurred on 10 February 2018, after an Iranian UAV entered Israeli airspace from Syria. An Israeli Air Force AH-64 launched a Hellfire missile at the UAV, successfully destroying it.


title: AGM-114 Hellfire

text: In January 2016 "The Wall Street Journal" reported that one training missile without a warhead was accidentally shipped to Cuba in 2014 after a training mission in Europe; it was later returned. A US official said that this was an inert "dummy" version of the Lockheed system stripped of its warhead, fuse, guidance equipment and motor, known as a "Captive Air Training Missile".


title: AGM-114 Hellfire

text: The system has been tested for use on the Humvee and the Improved TOW Vehicle (ITV). Test shots have also been fired from a C-130 Hercules. Sweden and Norway use the Hellfire for coastal defense and have conducted tests with Hellfire launchers mounted on the Combat Boat 90 coastal assault boat.


title: AGM-114 Hellfire

text: The US Navy was evaluating the missile for use on the Freedom-class littoral combat ship and Independence-class littoral combat ship from 2014. The missile was successfully fired from a LCS in early 2017 This system is set to deploy by late 2019.


title: AGM-114 Hellfire

text: In 2016 the Longbow Hellfire was tested by the US Army using a 15-tube Multi-Mission Launcher mounted on a Family of Medium Tactical Vehicles (FMTV) truck. The MML is an Army-developed weapon system capable of deploying both surface-to-surface and surface-to-air missiles.


title: Juliette Binoche

text: She has appeared in more than sixty feature films and has been the recipient of numerous accolades, including an Academy Award, a British Academy Film Award, a Silver Bear, a Cannes Film Festival Award, Volpi Cup and a César Award.


title: Juliette Binoche

text: Binoche began taking acting lessons during adolescence and, after performing in several stage productions, was cast in different films.


title: Juliette Binoche

text: During the 2000s, she maintained an international career, alternating between French and English language roles in both mainstream and art-house productions. In 2010, she won the Best Actress Award at the Cannes Film Festival for her role in Abbas Kiarostami's "Certified Copy", making her the first actress to win the European "Best Actress Triple Crown" (for winning awards at the Berlin, Cannes, and Venice film festivals).


title: Juliette Binoche

text: Throughout her career, Binoche has intermittently appeared on stage, most notably in a 1998 London production of Luigi Pirandello's "Naked" and in a 2000 production of Harold Pinter's "Betrayal" on Broadway for which she was nominated for a Tony Award. In 2008, she began a world tour with a modern dance production "in-i" devised in collaboration with Akram Khan.


title: Juliette Binoche

text: Binoche was born in Paris, the daughter of Jean-Marie Binoche, a director, actor, and sculptor, and Monique Yvette Stalens (born 1939), a teacher, director, and actress. Her father, who is French, also has one eighth Portuguese-Brazilian ancestry; he was raised partly in Morocco by his French-born parents. Her mother was born in Częstochowa, Poland. Binoche's maternal grandfather, Andre Stalens, was born in Poland, of Belgian (Walloon) and French descent, and Binoche's maternal grandmother, Julia Helena Młynarczyk, was of Polish origin. Both of them were actors who were born in Częstochowa; the German Nazi occupiers imprisoned them at Auschwitz as intellectuals.


title: Juliette Binoche

text: When Binoche's parents divorced in 1968, four-year-old Juliette and her sister Marion were sent to a provincial boarding school. During their teens, the Binoche sisters spent their school holidays with their maternal grandmother, not seeing their parents for months at a time. Binoche has stated that this perceived parental abandonment had a profound effect on her.


title: Juliette Binoche

text: She was not particularly academic and in her teenage years began acting at school in amateur stage productions. At seventeen, she directed and starred in a student production of the Eugène Ionesco play, "Exit the King". She studied acting at the "Conservatoire National Supérieur d'Art Dramatique" (CNSAD), but quit after a short time as she disliked the curriculum. In the early 1980s, she found an agent through a friend and joined a theater troupe, touring France, Belgium and Switzerland under the pseudonym "Juliette Adrienne". Around this time, she began lessons with acting coach Vera Gregh.


title: Juliette Binoche

text: Her first professional screen experience came as an extra in the three-part TF1 television series "Dorothée, danseuse de corde" (1983) directed by Jacques Fansten, followed by a similarly small role in the provincial television film "Fort bloque" directed by Pierrick Guinnard. After this, Binoche secured her first feature-film appearance with a minor role in Pascal Kané's "Liberty Belle" (1983). Her role required just two days on-set, but was enough to inspire Binoche to pursue a career in film.


title: Juliette Binoche

text: Binoche's early films established her as a French star of some renown. In 1983, she auditioned for the female lead in Jean-Luc Godard's' controversial "Hail Mary", a modern retelling of the Virgin birth. Godard requested a meeting with Binoche having seen a photo of her taken by her boyfriend at the time. Although she said she spent six months on the film's set in Geneva, although her presence in the final cut is confined to just a few scenes. Further supporting roles followed in a variety of French films. Annick Lanoë's "Les Nanas" gave Binoche her most noteworthy role to date, playing opposite established stars Marie-France Pisier and Macha Méril in a mainstream comedy, though she has stated the experience was not particularly memorable or influential. She gained more significant exposure in Jacques Doillon's critically acclaimed "Family Life" cast as the volatile teenage step-daughter of Sami Frey's central character. This film was to set the tone of her early career. Doillon has commented that in the original screenplay her character was written to be 14 years old, but he was so impressed with Binoche's audition he changed the character's age to 17 to allow her take the role. In April 1985, Binoche followed this with another supporting role in Bob Decout's "Adieu Blaireau", a "policier" thriller starring Philippe Léotard and Annie Girardot. "Adieu Blaireau" failed to have much impact with critics or audiences.


title: Juliette Binoche

text: It was to be later in 1985 that Binoche would fully emerge as a leading actress with her role in André Téchiné's "Rendez-vous". She was cast at short notice when Sandrine Bonnaire had to abandon the film due to a scheduling conflict. "Rendez-vous" premiered at the 1985 Cannes Film Festival, winning Best Director. The film was a sensation and Binoche became the darling of the festival. "Rendez-Vous" is the story of a provincial actress, Nina (Binoche), who arrives in Paris and embarks on a series of dysfunctional liaisons with several men, including the moody, suicidal Quentin (Lambert Wilson). However it is her collaboration with theater director Scrutzler, played by Jean-Louis Trintignant, which comes to define Nina. In a review of "Rendez-Vous" in Film Comment, Armond White described it as "Juliette Binoche's career-defining performance".


title: Juliette Binoche

text: In 1986, Binoche was nominated for her first César for Best Actress in a Leading Role for her performance in the film. Following "Rendez-Vous", she was unsure of what role to take next. She auditioned unsuccessfully for Yves Boisset's "Bleu comme l'enfer" and Robin Davis's "Hors la loi", but was eventually cast in "My Brother-in-Law Killed My Sister" (1986) by Jacques Rouffio opposite the popular French stars Michel Serrault and Michel Piccoli. This film was a critical and commercial failure. Binoche has commented that Rouffio's film is very significant to her career as it taught her to judge roles based on the quality of the screenplay and her connection with a director, not on the reputation of other cast members. Later in 1986, she again starred opposite Michel Piccoli in Leos Carax's "Mauvais Sang". This film was a critical and commercial success, leading to Binoche's second César nomination. "Mauvais Sang" is an avant-garde thriller in which she plays Anna the vastly younger lover of Marc (Piccoli) who falls in love with Alex (Denis Lavant), a young thief. Binoche has stated that she, "discovered the camera", while shooting this film.


title: Juliette Binoche

text: In August 1986, Binoche began filming Philip Kaufman's adaptation of Milan Kundera's novel "The Unbearable Lightness of Being", portraying the young and innocent Tereza. Released in 1988, this was Binoche's first English language role and was a worldwide success with critics and audiences alike. Set against the USSR's invasion of Prague in 1968, the film tells the story of the relationships a Czech surgeon, Tomas (Daniel Day-Lewis), has with his wife Tereza and his lover Sabina (Lena Olin). Binoche has stated that at the time her English was very limited and that she relied on a French translation to fully grasp her role. After this success, Binoche decided to return to France rather than pursue an international career. In 1988, she filmed the lead in Pierre Pradinas's "Un tour de manège", a little-seen French film opposite François Cluzet. She has stated that her attraction to this film was that it gave her the opportunity to work with close friends and family. Pradinas is the husband of her sister Marion Stalens who was set photographer on the film and appeared in a cameo role. In the summer of 1988, Binoche returned to the stage in an acclaimed production of Anton Chekhov's "The Seagull" directed by Russian director Andrei Konchalovsky at Théâtre de l'Odéon in Paris.


title: Juliette Binoche

text: Later that year, she began work on Leos Carax's "Les Amants du Pont-Neuf". The film was beset by problems and took three years to complete, requiring investment from three producers and funds from the French government. When finally released in 1991, "Les Amants du Pont-Neuf" was a critical success. Binoche won a European Film Award as well as securing her third César nomination for her performance. In the film Binoche portrays an artist who lives rough on the famous Parisian bridge where she meets another young vagrant (Denis Lavant). This iconic part of the city becomes the backdrop for a wildly passionate love story and some of the most visually arresting images of the city ever created. The paintings featured in the film were Binoche's own work. She also designed the French poster for the film which features an ink drawing of the eponymous lovers locked in embrace. During a break in filming in 1990, Binoche spent five days shooting "Mara" for Mike Figgis, based on Henry Miller's "Quiet Days in Clichy". This 30-minute film was part of HBO's anthology series "Women & Men 2". The film became somewhat contentious when, according to Mike Figgis, HBO altered it once he had completed it. The film premiered on HBO in the U.S. on 18 August 1991.


title: Juliette Binoche

text: At this point, Binoche seemed to be at a crossroads in her career. She was recognized as one of the most significant French actresses of her generation. However, the long production of "Les Amants du Pont-Neuf" had forced her to turn down several significant roles in international productions including "The Double Life of Véronique" by Krzysztof Kieślowski, "Cyrano de Bergerac" by Jean-Paul Rappeneau, "Night and Day" by Chantal Akerman, and "Beyond the Aegean", an aborted project with Elia Kazan. Binoche then chose to pursue an international career outside France.


title: Juliette Binoche

text: In the 1990s, Binoche was cast in a series of critically and commercially successful international films, winning her praise and awards. In this period, her persona developed from that of a young gamine to a more melancholic, tragic presence. Critics suggested that many of her roles were notable for her almost passive intensity in the face of tragedy and despair. In fact, Binoche has nicknamed her characters from this period as her "sorrowful sisters". Following the long shoot of "Les Amants du Pont-Neuf", Binoche relocated to London for the 1992 productions of "Emily Brontë's Wuthering Heights" and "Damage", both of which considerably enhanced her international reputation. Yet, from a professional and personal point of view, both films were significant challenges for Binoche; her casting opposite Ralph Fiennes's Heathcliff in "Wuthering Heights", instead of English actresses Helena Bonham Carter and Kate Beckinsale, was immediately contentious and drew derision from the British press, unimpressed that a uniquely English role had gone to a French actress. The film had its world premiere at the 1992 Edinburgh International Film Festival. Reviews were poor, with Binoche being cynically dubbed "Cathy Clouseau" and derided for her ""franglais"" accent. Both Binoche and director Peter Kosminsky distanced themselves from the film, with Binoche refusing to do any promotion for the film or to redub it into French.


title: Juliette Binoche

text: "Damage", a UK and French co-production, is the story of a British Conservative minister played by Jeremy Irons who embarks on a torrid affair with his son's fiancée (Binoche). Based on the novel by Josephine Hart and directed by veteran French director Louis Malle, "Damage" seemed to be the ideal international vehicle for Binoche; however the production was wrought with difficulties and dogged by rumours of serious conflict. In an on-set interview, Malle stated that it was the "most difficult" film he had ever made, while Binoche commented that "the first day was one big argument". "Damage" opened in the UK late in 1992 and debuted early in 1993 on US screens. Reviews were somewhat mixed. For her performance, Binoche received her fourth César nomination.


title: Juliette Binoche

text: In 1993, she appeared in Krzysztof Kieślowski's "" to much critical acclaim. The first film in a trilogy inspired by the ideals of the French republic and the colors of its flag, "Three Colors: Blue" is the story of a young woman who loses her composer husband and daughter in a car accident. Though devastated she learns to cope by rejecting her previous life in favor of conscious "nothing"; rejecting all people, belongings and emotions. "Three Colours: Blue" premiered at the 1993 Venice Film Festival, landing Binoche the Best Actress Prize. She also won a César, and a nomination for the Golden Globe. Binoche has said her inspirations for the role were her friend and coach Vernice Klier who suffered a similar tragedy, and the book "The Black Veil" by Anny Duperey which deals with the author's grief at losing her parents at a young age. Binoche made cameo appearances in the other two films in Kieślowski's trilogy, "" and "". Around this time, Steven Spielberg offered her roles in "Jurassic Park" and "Schindler's List". She turned down both parts. After the success of "Three Colors: Blue", Binoche took a short sabbatical during which she gave birth to her son Raphaël in September 1993.


title: Juliette Binoche

text: 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 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 influence 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".


title: Juliette Binoche

text: Her next role in "The English Patient" reinforced her position as an international movie star. The film, based on the 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.


title: Juliette Binoche

text: Next, Binoche was reunited with director André Téchiné for "Alice et Martin" (1998), the story of a relationship between an emotionally damaged Parisian musician and her younger lover who hides a dark family secret. The film failed to find an audience in France, although it was critically acclaimed in the UK. In February 1998, Binoche made her London stage debut in a new version of Luigi Pirandello's "Clothe the Naked" re-titled "Naked" and adapted by Nicolas Wright. The production, directed by Jonathan Kent, was very favorably received. Following this acclaimed performance, she returned to French screens with "Children of the Century" (1999), a big budget romantic epic, in which she played 19th-century French proto-feminist author George Sand. The film depicted Sand's affair with the poet and dandy Alfred de Musset played by Benoît Magimel. The following year saw Binoche in four contrasting roles, each of which enhanced her reputation. "La Veuve de Saint-Pierre" (2000) by Patrice Leconte, for which she was nominated for a César for Best Actress, was a period drama which saw Binoche appear opposite Daniel Auteuil in the role of a woman who attempts to save a condemned man from the guillotine. The film won favorable reviews, particularly in the U.S. where it was nominated for a Golden Globe for Best Foreign Language Film.


title: Juliette Binoche

text: Next, she appeared in Michael Haneke's "Code Unknown", a film which was made following Binoche's approach to the Austrian director. The film premiered in competition at the 2000 Cannes Film Festival. This critically acclaimed role was a welcome change from playing the romantic heroine in a series of costume dramas. Later that year, Binoche made her Broadway debut in an adaptation of Harold Pinter's "Betrayal" for which she was nominated for a Tony Award. Staged by the Roundabout Theatre Company and directed by David Leveaux, the production also featured Liev Schreiber and John Slattery. Back on screen, Binoche was the heroine of the Lasse Hallström film "Chocolat" from the best selling novel by Joanne Harris. For her role Binoche won a European Film Audience Award for Best Actress and was nominated for an Academy Award and a BAFTA. "Chocolat" is the story of a mysterious stranger who opens a "chocolaterie" in a conservative French village in 1959. The film was a worldwide hit.


title: Juliette Binoche

text: Between 1995 and 2000, Binoche was the advertising face of the Lancôme perfume "Poème", her image adorning print campaigns photographed by Richard Avedon and a television advertising campaign, including an advert directed by Anthony Minghella and scored by Gabriel Yared. By the end of this period and following roles in a number of prestige productions, critics were wondering if Binoche was typecast as the tragic, despairing muse. In a feature article entitled "The Erotic Face" in the June 2000 edition of British film criticism magazine "Sight and Sound", Ginette Vincendeau pondered Binoche's persona; Vincendeau suggested that the fixation of numerous directors upon her face had led to an erasure of her body, and to her being perceived only as a romantic icon rather than a versatile actress.


title: Juliette Binoche

text: After the success of "Chocolat", Binoche was internationally recognized as an A-list movie star in the early 2000s, but as an actor her persona became somewhat fixed following a series of period roles portraying a stoic heroine facing tragedy and desolation. Keen to try something new, Binoche returned to French cinema in 2002 in an unlikely role: she played a ditsy beautician in "Jet Lag" opposite Jean Reno. The film, directed by Daniele Thompson, was a box office hit in France and Binoche was once again nominated for a César for Best Actress. The film tells the story of a couple who meet at an airport during a strike. Initially the pair despises each other, but, over the course of one night, they find common ground and maybe even love. This playful spirit continued when Binoche featured in a 2003 Italian television commercial for the chocolates Ferrero Rocher. The advertisement played upon her "Chocolat" persona featuring Binoche handing out the chocolates to people on the streets of Paris.


title: Juliette Binoche

text: In a more serious vein, Binoche traveled to South Africa to make John Boorman's "In My Country" (2004) opposite Samuel L. Jackson. Based on the book "Country of My Skull" by Antjie Krog, the film examines The Truth and Reconciliation Commission (TRC) hearings following the abolition of Apartheid in the mid-1990s. Although the film premiered at the 2004 Berlin International Film Festival, it received much criticism for the inclusion of a fictional romantic liaison and for its depiction of black South Africans. Despite the negative reception, Binoche was extremely enthusiastic about the film and her connection with Boorman. Her sister, Marion Stalens, also traveled to South Africa to shoot a documentary, "La reconciliation?", which explores the TRC process and follows Binoche's progress as she acts in Boorman's film. Next, Binoche re-teamed with Michael Haneke for "Caché". The film was an immediate success, winning best director for Haneke at the 2005 Cannes Film Festival, while Binoche was nominated for a European Film Award for Best Actress for her role. The film tells the story of a bourgeois Parisian couple, played by Binoche and Daniel Auteuil, who begin to receive anonymous videotapes containing footage shot over long periods, surveying the outside of their home. "Caché" went on to feature in the number one position on the "Top 10 of the 2000s" list published by The Times at the end of the decade.


title: Juliette Binoche

text: Binoche's next film, "Bee Season", based on the celebrated novel by Myla Goldberg, cast her opposite Richard Gere. The film was not a success at the box office taking less than $5 million worldwide. For many critics the film, although intelligent, was "distant and diffuse". "Bee Season" depicts the emotional disintegration of a family just as their daughter begins to win national spelling bees. "Mary" (2005) featured Binoche in a somewhat unlikely collaboration with the controversial American director Abel Ferrara for an investigation of modern faith and Mary Magdalene's position within the Catholic Church. Featuring Forest Whitaker, Matthew Modine and Marion Cotillard, "Mary" was a success, winning the Grand Prix at the 2005 Venice Film Festival. Despite these accolades and favorable reviews, particularly from the cultural magazine "Les Inrockuptibles", "Mary" failed to secure a distributor in key markets such as the US and the UK.


title: Juliette Binoche

text: The Cannes Film Festival in 2006 saw Binoche feature in the anthology film "Paris, je t'aime" appearing in a section directed by the Japanese director Nobuhiro Suwa. Suwa's "Place des Victoires" is the story of a grief-stricken mother who manages to have a final brief moment with her dead son. The segment also features Willem Dafoe and Hippolyte Girardot. "Paris, je t'aime" was a popular success, taking over $17 million, at the world box-office. In September 2006, Binoche appeared at the Venice Film Festival to launch "A Few Days in September", written and directed by Santiago Amigorena. Despite an impressive cast including John Turturro, Nick Nolte and up-and-coming French star Sara Forestier, the film was a failure. "A Few Days in September" is a thriller set between 5 and 11 September 2001, in which Binoche plays a French secret service agent, who may, or may not, have information relating to impending attacks on the U.S. The film was the recipient of harsh criticism from the press for its perceived trivialisation of the events of 11 September 2001. While promoting the film in the UK, Binoche told an interviewer she believed the CIA and other government agencies must have had foreknowledge of the 11 September attacks, as depicted in the film.


title: Juliette Binoche

text: Next, Binoche traveled to the 2006 Toronto International Film Festival for the premiere of "Breaking and Entering", her second film with Anthony Minghella in the director's chair, based on his first original screenplay since his breakthrough film "Truly, Madly, Deeply" (1991). In "Breaking and Entering", Binoche played a Bosnian refugee living in London, while Jude Law co-starred as a well-to-do businessman drawn into her life via an act of deception. In preparation for her role, Binoche traveled to Sarajevo where she met women who had survived the war of the 1990s. Lushly photographed by Benoît Delhomme, "Breaking and Entering" portrays intersecting lives amongst the flux of urban renewal in inner-city London. Despite the fact that Binoche was praised for her performance, the film did not ring true for critics and failed to find an audience. In a review in Variety, Todd McCarthy writes that, "Binoche, physically unchanged as ever, plays Amira's controlled anguish with skill". "Breaking and Entering" also featured Robin Wright, Vera Farmiga, Juliet Stevenson, Rafi Gavron and Martin Freeman.


title: Juliette Binoche

text: Although Binoche began the decade on a professional high with an Academy Award nomination for "Chocolat", she struggled at the beginning of the 2000s to secure roles that did not confine her to the tragic, melancholic persona developed in the 1990s. Despite the huge success of "Caché", other high-profile films such as "In My Country", "Bee Season" and "Breaking and Entering" failed critically and commercially. Binoche again seemed to be at a crossroads in her career.


title: Juliette Binoche

text: 2007 was the start of a particularly busy period for Binoche, one that would see her take on diverse roles in a series of critically acclaimed international movies giving her film career a new impetus, as she shed the restrictions that seemed to have stifled her career in the early part of the decade. The Cannes Film Festival saw the premiere of "Flight of the Red Balloon" (2007) by the Taiwanese director Hou Hsiao-hsien. It was originally conceived as a short film to form part of a 20th anniversary tribute to the Musée d'Orsay, to be produced by , president of the museum. When that idea failed to find sufficient funding, Hou developed it into a feature-length film and secured the necessary financing. The film was well received by international critics and went on to debut around the world early in 2008. Paying homage to Albert Lamorisse's 1957 short "The Red Balloon", Hou's film tells the story of a woman's efforts to juggle her responsibilities as a single mother with her commitment to her career as a voice artist. Shot on location in Paris, the film was entirely improvised by the cast. The film was number one on the influential critic J. Hoberman's "Top 10 List" for 2008 published in The Village Voice.


title: Juliette Binoche

text: She was also honored with the Maureen O'Hara Award at the Kerry Film Festival in 2010, an award offered to women who have excelled in their chosen field in film.


title: Juliette Binoche

text: "Disengagement" by Amos Gitai premiered out-of-competition at the 2007 Venice Film Festival. Co-starring Liron Levo and Jeanne Moreau, "Disengagement" is a political drama charting the story of a French woman, of Dutch/Palestinian origin, who goes in search of a daughter she abandoned 20 years previously on the Gaza strip. She arrives in Gaza during the 2005 Israeli disengagement. The film won the prestigious Premio Roberto Rossellini and was critically acclaimed, particularly by the eminent "Cahiers du cinéma". However the film proved more controversial in Israel where state television station Channel 1 withdrew financial support for the film citing the "left-wing nature of Gitai's films".


title: Juliette Binoche

text: In stark contrast, Peter Hedges co-wrote and directed the Disney-produced "Dan in Real Life", a romantic comedy featuring Binoche alongside Steve Carell. It was released in October 2007, becoming a popular commercial success in the US, before debuting around the world in 2008. The film grossed over $65 million at the worldwide box-office. "Dan in Real Life" is the story of a widowed man (Carell) who meets, and instantly falls for, a woman (Binoche), only to discover she is the new girlfriend of his brother. The film also features Dane Cook, Emily Blunt and Dianne Wiest.


title: Juliette Binoche

text: Back in France, Binoche experienced popular and critical success in "Paris" directed by Cédric Klapisch. "Paris" is Klapisch's personal ode to the French capital and features an impressive ensemble of French talent, including Romain Duris, Fabrice Luchini and Mélanie Laurent. "Paris" was one of the most successful French films internationally in recent years, having grossed over $22 million at the world box office. Binoche and Klapisch had originally met on the set of "Mauvais Sang" in 1986, where Klapisch was working as a set electrician.


title: Juliette Binoche

text: Also in France, "Summer Hours" (2008), directed by Olivier Assayas, is the critically acclaimed story of three siblings who struggle with the responsibility of disposing of their late mother's valuable art collection. The film premiered in France in March 2008 and had its U.S. debut at the 2008 New York Film Festival, before going on general release in the U.S. on 19 May 2009. Widely acclaimed, the film was nominated for the Prix Louis Delluc in France and appeared on numerous U.S. "Top 10 lists", including first place on David Edelstein's "Top 10 of 2009" list in "New York" magazine, and J. R. Jones's list in the Chicago Reader. "Summer Hours" also features Charles Berling, Jérémie Renier and Édith Scob.


title: Juliette Binoche

text: In the autumn of 2008, Binoche starred in a theatrical dance production titled "in-i", co-created with renowned choreographer Akram Khan. The show, a love story told through dance and dialogue, featured stage design by Anish Kapoor and music by Philip Sheppard. It premiered at the National Theatre in London before embarking on a world tour. "The Sunday Times" in the UK commented that, "Binoche's physical achievement is incredible: Khan is a master mover". The production was part of a 'Binoche Season' titled "Ju'Bi'lations", also featuring a retrospective of her film work and an exhibition of her paintings, which were also published in a bilingual book "Portraits in Eyes". The book featured ink portraits of Binoche as each of her characters and of each director she had worked with up to that time. She also penned a few lines to each director.


title: Juliette Binoche

text: In April 2006 and again in December 2007, Binoche traveled to Tehran at the invitation of Abbas Kiarostami. While there in 2007, she shot a cameo appearance in his film "Shirin" (2008) which he was shooting at the time. Binoche's visit proved controversial when two Iranian MPs raised the matter in parliament, advising more caution be exercised in granting visas to foreign celebrities which might lead to "cultural destruction". In June 2009, Binoche began work on "Certified Copy" directed by Kiarostami. The film was an Official Selection in competition at the 2010 Cannes Film Festival. Binoche won the Best Actress Award at the festival for her performance. The film went on general release in France on 19 May 2010 to very positive reviews. Her win at the 2010 Cannes Film festival makes Binoche the first actress to win the European "best actress triple crown": Best Actress at Venice for "Three Colors: Blue", Best Actress at Berlin for "The English Patient" and Best Actress at Cannes for "Certified Copy". The September 2010 UK release of the film was overshadowed when French actor Gérard Depardieu made disparaging comments about Binoche to the Austrian magazine "Profil", "Please can you explain to me what the mystery of Juliette Binoche is meant to be?" he said. "I would really like to know why she has been so esteemed for so many years. She has nothing – absolutely nothing". In response, while promoting "Certified Copy", Binoche spoke to movie magazine "Empire" saying, "I don't know him. I understand you don't have to like everyone and you can dislike someone's work. But I don't understand the violence [of his statements]... I do not understand why he is behaving like this. It is his problem." "Certified Copy" proved to be controversial in Kiarostami's homeland when Iranian authorities announced on 27 May 2010 that the film was to be banned in Iran, apparently due to Binoche's attire; Deputy Culture Minister Javad Shamaqdari is quoted as saying, "If Juliette Binoche were better clad it could have been screened but due to her attire there will not be a general screening."


title: Juliette Binoche

text: Following the success of "Certified Copy", Binoche appeared in a brief supporting role in "The Son of No One" for American writer and director Dito Montiel. The film also stars Channing Tatum, Al Pacino and Ray Liotta. "The Son of No One" premiered at the 2011 Sundance Film Festival to fairly negative reaction. It was acquired by Anchor Bay Entertainment for distribution in the US and other key territories arriving in selected US cinemas on 4 November 2011. , according to film review aggregator "Rotten Tomatoes", "The Son of No One" is Juliette Binoche's least critically successful film, with only 18% of critics giving it a positive review.


title: Juliette Binoche

text: In June 2010, Binoche started work on "Elles" for Polish director Małgorzata Szumowska. "Elles", produced under the working title "Sponsoring", is an examination of teenage prostitution with Juliette Binoche playing a journalist for "ELLE". The film was released in France on 1 February 2012. On 12 January 2011, Variety announced that Juliette Binoche would star in "Another Woman's Life" loosely based on the novel "La Vie d'une Autre" by Frédérique Deghelt. Released in France on 15 February 2012, the film is the directorial debut of the French actress Sylvie Testud and co-stars actor/director Mathieu Kassovitz. "Another Woman's Life" is the story of Marie (Binoche) a young woman who meets and spends the night with Paul (Kassovitz). When she wakes up, she discovers that 15 years have passed. With no memory of these years she learns she has acquired an impressive career, a son and a marriage to Paul which seems headed for divorce. The film met with generally mixed reviews in France.


title: Juliette Binoche

text: On 17 February 2011, Screendaily announced that Binoche had been cast in David Cronenberg's film "Cosmopolis" with Robert Pattinson, Paul Giamatti, Mathieu Amalric, and Samantha Morton. Binoche appeared in a supporting role as a New York art dealer, Didi Fancher, who is having an affair with Pattinson's Eric Packer. The film, produced by Paulo Branco, began principal photography on 24 May 2011 and was released in 2012, following a competition slot at the 2012 Cannes Film Festival. "Cosmopolis" received mixed reviews from critics. August 2012 saw the French release of "An Open Heart" opposite Édgar Ramírez and directed by Marion Laine. Based on the novel "Remonter l'Orénoque" by Mathias Énard, the film is the story of the obsessive relationship between two highly successful surgeons. The film depicts the consequences of an unexpected pregnancy and alcoholism upon their relationship. The second film directed by Laine, "An Open Heart" met with tepid reviews in France and poor box office receipts.


title: Juliette Binoche

text: Released at the 2013 Berlin International Film Festival, Bruno Dumont's "Camille Claudel 1915" is a drama recounting three days of the 30 years French artist Camille Claudel (Binoche) spent in a mental asylum though she had not been diagnosed with any malady. The film examines Claudel's fight to maintain her sanity and find creative inspiration while awaiting a visit from her brother, the poet Paul Claudel. The film received excellent reviews with Binoche in particular gaining excellent reviews for her performance.


title: Juliette Binoche

text: Following this, Binoche completed work on "A Thousand Times Good Night" for director Erik Poppe in which she plays a war photographer and the romantic drama "Words and Pictures" with Clive Owen from veteran director Fred Schepisi. She co-starred in Gareth Edwards's "Godzilla", which was theatrically released in May 2014. August 2013 saw Binoche reunite with Olivier Assayas for "Clouds of Sils Maria". The film was written especially for Binoche and plot elements parallel her life. It also featured Kristen Stewart and Chloë Grace Moretz. The film had its debut at Cannes 2014. Following this role Binoche was slated to appear in "Nobody Wants the Night" by Isabel Coixet which was due to begin shooting late in 2013.


title: Juliette Binoche

text: In 2015, Binoche starred on stage in a new English language translation of "Antigone". Directed by Ivo van Hove, the production had a world premier in Luxembourg at the end of February. Then, it embarked an international tour to London, Antwerp, Amsterdam, Edinburgh, Paris, Recklinghausen and New York.


title: Juliette Binoche

text: Binoche narrated the new documentary film titled "Talking about Rose" about the Chad soldier Rose Lokissim who fought against Hissène Habré's dictatorship in the 1980s.


title: Juliette Binoche

text: In 2016, Binoche reunited with Bruno Dumont for a comedy film "Slack Bay". The 2016 Cannes Film Festival saw the première of "Slack Bay" ("Ma Loute"), also starring Fabrice Luchini and Valeria Bruni Tedeschi, which is a burlesque comedy based in the Ambleteuse region of Northern France. Set in 1910, the film tells the unusual story of two families linked by an unlikely romance. "Ma Loute" won much praise from French critics and was a popular success at the French box office.


title: Juliette Binoche

text: Following the success of her reunion with Bruno Dumont, Juliette Binoche next made a special appearance in "Polina, danser sa vie" (2016) directed by Valérie Müller and Angelin Preljocaj, focusing on the story of a gifted Russian ballerina, Polina (Anastasia Shevtsoda). From Moscow to Aix-En-Provence and Antwerp, from success to disillusion, we follow Polina's incredible destiny. Binoche portrays a choreographer, Liria Elsaj, who awakens a desire in Polina to move away from classical ballet to explore more contemporary dance. In October 2017, she performed Barbara's autobiographical prose in the Philharmonie de Paris, accompanied by the French pianist Alexandre Tharaud.


title: Juliette Binoche

text: "Telle mère, telle fille" ("Like Mother, Like Daughter") (2017) is a comedy from Noémie Saglio and features Binoche as a free-wheeling 47-year-old who falls pregnant at the same time as her uptight daughter Avril (Camille Cottin). The film also features Lambert Wilson, reuniting with Binoche 32 years after they were a sensation at the 1985 Cannes Film Festival in André Téchiné's "Rendez-Vous". In May 2017 Binoche and Cottin appeared together again, this time on the small screen in the final episode of the second season of "Dix Pour Cent" ("Call My Agent") where Juliette Binoche played herself in a tongue-in-cheek episode centering on the Cannes Film Festival.


title: Juliette Binoche

text: Returning to the big screen, Binoche next appeared in a supporting role in Rupert Sanders's big screen adaptation of the cult manga "Ghost in the Shell" (2017). Binoche played Dr Ouelet, a scientist with the Hanka organization responsible for creating the ghost in the shell, Major, portrayed by Scarlett Johansson. Binoche, Sanders and Johansson did extensive promotion for the film in the US, Japan, Europe and Australia.


title: Juliette Binoche

text: May 2017 saw the première of Claire Denis's "Un Beau Soleil Intérieur" ("Let the Sunshine In") (2017) at the Quinzaine des Réalisateurs selection at the Cannes Film Festival. The film is the story of a middle-aged Parisian artist, Isabelle (Binoche), who is searching for true love at last. The film depicts her many encounters with a number of unsuitable men. The film also features Xavier Beauvois, Nicolas Duvauchelle, Josiane Balasko, Valeria-Bruni Tedeschi and Gérard Depardieu. "Un Beau Soleil Intérieur" was a success with audiences and critics around the world.


title: Juliette Binoche

text: Next, Binoche appeared in Naomi Kawase's "Vision" (2018). Following that, she reunited with Claire Denis for the English language "High Life" (2018), Olivier Assayas for "Doubles Vies" (2019) and Patrice Leconte for "La maison vide" (2019).


title: Juliette Binoche

text: Binoche has two children: son Raphaël (born on 2 September 1993), whose father is André Halle, a professional scuba diver, and daughter Hana (born on 16 December 1999), whose father is actor Benoît Magimel, with whom Binoche starred in the 1999 film "Children of the Century". Her sister, Marion Stalens, born 1960, is a professional photographer with Corbis, as well as a director of documentary films, including: "La réconciliation?", a documentary shot on the set of John Boorman's film "In My Country"; "The Actress and the Dancer", which explores genesis of Binoche's dance show "In-I"; and "Juliette Binoche – Sketches for a Portrait", a documentary which follows Binoche as she paints the portraits that would later appear in her book "Portraits in Eyes". Marion is married to stage director Pierre Pradinas.


title: Juliette Binoche

text: Her half-brother Camille Humeau (born 1978) is an acclaimed musician and has been part of the line-up of Oncle Strongle, before top-lining the group Artichaut Orkestra. In 2007, he appeared in a stage production of "Cabaret" directed by Sam Mendes.


title: Juliette Binoche

text: Since 1992, Binoche has been a patron of the French Cambodian charity "Enfants d'Asie" (previously ASPECA). Through this charity, she is godmother to five Cambodian orphans, and has funded the construction of a children's home in Battambang. Starting in 2000, she has been involved with the organization Reporters Without Borders. In 2002, she presided over "Photos of Stars" with Thierry Ardisson. Nearly 100 French stars were given disposable cameras, which were then auctioned, the buyer then having the exclusive photos taken by the star developed.


title: Juliette Binoche

text: On 7 February 2006, Binoche attended a high-profile demonstration organized by Reporters Without Borders in support of Jill Carroll and two Iraqi journalists who had been abducted in Baghdad.


title: Juliette Binoche

text: She supported José Bové in the 2007 French presidential election, which was won by Nicolas Sarkozy. She disclosed on a number of occasions that she did not approve of the Sarkozy administration, stating that he was creating a monarchic republic.


title: Juliette Binoche

text: In 2009, she gave her opinion on the September 11 attacks during the shooting of "Quelques jours en septembre", a spy film that tells that several interest groups, including the American secret services, were aware of an imminent attack on the United States, during which she talks with a secret agent, consultant for the film, and then states in an English newspaper: "He couldn’t tell me everything, but he told me a lot." "I was surprised by some things." For her, the CIA and others knew about it.


title: Juliette Binoche

text: Binoche and numerous other French personalities, including Isabelle Adjani, Yvan Attal, Jane Birkin, and Josiane Balasko, joined Réseau Éducation Sans Frontières (RESF) on 7 January 2010 with a symbolic "cake of solidarity" to highlight the taxation and legitimacy issues being faced by undocumented workers in France.


title: Juliette Binoche

text: Binoche was a signatory to a June 2010 petition organized by Reporters Without Borders and Shirin Ebadi to protest against the detention of numerous people, including members of the press, who were protesting the occasion of the first anniversary of the disputed re-election of Iran's president Mahmoud Ahmadinejad.


title: Juliette Binoche

text: At the 2010 Cannes Film Festival, Binoche spoke out against the detention of Iranian director Jafar Panahi, incarcerated in Tehran's Evin Prison since 1 March 2010 without charge or conviction. At the press conference following the press screening of "Copie Conforme", Binoche was informed that Panahi had begun a hunger strike. The following day, Binoche attended a press conference called especially to demand the release of Panahi. Also in attendance were Abbas Kiarostami, Mohsen Makhmalbaf, and Gilles Jacob. Binoche read a letter that said that Panahi's detention was "unwarranted and intolerable". When Binoche was awarded the Best Actress award at the festival, brandishing his name on a placard, she used her speech as an opportunity to raise Panahi's plight once again. On 25 May, it was announced that Panahi had been released on bail. It was generally agreed that the publicity Binoche and Kiarostami elicited for his case was a strong factor in his release. On 20 December 2010, Panahi, after being prosecuted for "assembly and colluding with the intention to commit crimes against the country's national security and propaganda against the Islamic Republic", was handed a six-year jail sentence and a 20-year ban on making or directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media, as well as leaving the country. Binoche continued to lobby on his behalf.


title: Juliette Binoche

text: In May 2018, she co-authored a tribune in the newspaper "Le Monde", in which she opposed the lawsuit brought by the French judiciary to three people who had helped migrants, and said she had already helped migrants in need and intends to continue to do so.


title: Juliette Binoche

text: In February 2019, during a press conference at the Berlin International Film Festival, Binoche said that Harvey Weinstein was a great producer and "we shouldn't forget, even though it has been difficult for some directors and actors, and especially actresses". Binoche also said: "I almost want to say peace to his mind and heart, that’s all, I’m trying to put my feet in his shoes. He’s had enough, I think. A lot of people have expressed themselves. Now justice has to do its work."


title: Allen Ginsberg

text: Irwin Allen Ginsberg (; June 3, 1926 – April 5, 1997) was an American poet and writer. As a student at Columbia University in the 1940s, he began friendships with William S. Burroughs and Jack Kerouac, forming the core of the Beat Generation. He vigorously opposed militarism, economic materialism, and sexual repression, and he embodied various aspects of this counterculture with his views on drugs, sex, multiculturalism, hostility to bureaucracy, and openness to Eastern religions.


title: Allen Ginsberg

text: Ginsberg is best known for his poem "Howl", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States. San Francisco police and US Customs seized "Howl" in 1956, and it attracted widespread publicity in 1957 when it became the subject of an obscenity trial, as it described heterosexual and homosexual sex at a time when sodomy laws made (male) homosexual acts a crime in every state. The poem reflected Ginsberg's own sexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that "Howl" was not obscene, asking: "Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?"


title: Allen Ginsberg

text: Ginsberg was a Buddhist who extensively studied Eastern religious disciplines. He lived modestly, buying his clothing in second-hand stores and residing in apartments in New York City's East Village. One of his most influential teachers was Tibetan Buddhist Chögyam Trungpa, the founder of the Naropa Institute in Boulder, Colorado. At Trungpa's urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.