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REAL NAME: Elsa Zylberstein
NICKNAME: Elsa Steiner
DOB: 16 October 1968
BIRTHPLACE: Boulogne-Billancourt, France
BIRTH SIGN: Libra
FATHER: Albert Zylberstein
MOTHER: Liliane Zylberstein
SPOUSE / HUSBAND: NA
INSTAGRAM HANDLE: https://www.instagram.com/elsa_zylberstein
TWITTER HANDLE: https://twitter.com/zylbersteinelsa
FACEBOOK HANDLE: NA
Elsa Zyberstein was born on October 16, 1969, Elsa Zylberstein was born into a household with a comfortable income. Her famous physicist father was Albert Zylberstein. Her parents and he were hidden from the Nazis during World War II by people her father later asked Yad Vashem to recognise as “Righteous among the Nations.” The Zylbersteins made it through the war because of this. The woman’s mother, Liliane, was a beautician for Dior. Zylberstein grew up with her younger brother in a peaceful suburb of Paris. Her family’s Jewish identity was shaped mostly by two things: her grandmother’s (her father’s) Lithuanian cooking and their attendance at the Liberal synagogue’s Yom Kippur services.
Elsa’s life was profoundly altered by her visit to Yad Vashem in 1993, which she made as part of a vacation to Israel for a family wedding. In an effort to overcome what she called her “pathological shyness,” Elsa studied ballet and attended acting classes while earning a French “baccalaureat” in the arts.After graduating from drama school in 1989, Zylberstein quickly launched a successful cinema career, appearing in over 50 films to this day. She won the Cesar for Best Supporting Actress for her role in I’ve Loved You for Such a Long Time (2008).
It’s no exaggeration to say that France’s film industry spent the last two decades of the 20th century showcasing an extraordinary number of young Jewish talent. Elsa Zylberstein had a few little roles to her name at the start of her film career, but it was as an extra on the set of Van Gogh that she first garnered critical acclaim (1991). She went on to be featured in multiple additional art histories, this time as the female muse of famous Parisian artists from the turn of the last century. The play Mina Tannenbaum was Zylberstein’s first big success and earned her widespread recognition (1994).
Zylberstein also enjoyed success in the theatre, where he appeared in Pirandello and Anouilh performances as well as adaptations of works by well-known American playwrights. Zylberstein also has a deep understanding of humanitarian concerns and is the UNFPA goodwill ambassador for the French Senate. It’s no exaggeration to say that France’s film industry spent the last two decades of the 20th century showcasing an extraordinary number of young Jewish talent. In contrast to previous generations, these people do not try to cover up their desire to join. For example, the 1930s romantic protagonist Salomons family name was changed to the more French-sounding Aumont so that he could be cast as Jean-Pierre. The goal was to make him more likeable to the crowd. Many in the film industry, including actors Emmanuel Salinger, Sandrine Kiberlain, Gad Elmaleh, and Elsa Zylberstein, directors Cedric Klapisch and Mathieu Kassowitz, and screenwriters Jean-Pierre Bacri and Agnes Jaoui, have no problem coming out as members of minority groups.
Not only do they keep using their family patronyms in their writing, but they also touch on various aspects of the modern Jewish experience in France. Her early film performances were forgettable, but it was as an extra on the set of Van Gogh that Zylberstein first received critical acclaim (1991). Acclaimed director Maurice Pialat cast Zylberstein as the teenage prostitute Cathie with whom the damaged artist falls in love in this production. Pialat decided to cast Zylberstein in the part. It’s no fluke that she went on to play the female leads in several other biographies of early-20th-century Parisian painters. There was a purpose to her presence in these autobiographies. Therefore, Lautrec cast Zylberstein, who was renowned for her bright and classical beauty as well as her thin and aristocratic grace, in the next play (Roger Planchon, 1998). She portrayed Suzanne Valadon, a well-known painter who gained popularity as a result of being a muse for Renoir, Toulouse-Lautrec, and Gauguin.
She portrayed Modigliani’s sweetheart and the subject of his “Jeanne” series of paintings in Mick Davis’s 2003 biopic Modigliani. The film, Modigliani, was likewise about the woman’s awful end. Despite being born into an affluent Christian household, Jeanne Hébuterne was forced to leave up the privileged life she had always known. Her Jewish bohemian alcoholic partner had caused her family to abandon her after she became pregnant by him. After Modigliani’s sudden death, Jeanne made the decision to take her own life. A majority of reviewers praised Zylberstein’s performance, calling it “empathetic and vibrant,” but they were divided on the film’s overall artistic merit. A lot of years before Martine Dugowson’s film Mina Tannenbaum was released, however, Elsa Zylberstein had already achieved her first widespread popular triumph (1994). Over the course of twenty years, the film follows two Jewish girls as they grow up and remain close friends: Mina, the daughter of Holocaust survivors, and Ethel Benegui, whose family is Sephardic.
After her success in Dugowson’s Portraits Chinois (Shadow Play, 1996) and Les Fantômes de Louba (Louba’s Ghosts, 2001), she won the coveted “Promising new woman actress” award. The prestigious “Promising new woman actor” award was also given to Zylberstein. As the opening credits for Shadow Play roll, you can hear the famous speech former Israeli Prime Minister Yitzhak Rabin delivered in favour of peace. Louba’s Ghosts follows Zylberstein, a neglected and tortured adolescent who gets obsessed with visions of Jewish history and plans vengeance for her own humiliation as the novel progresses. Zylberstein has made numerous film appearances as the French embodiment of the so-called JAP, for example, as Arlette Stein in XXL (Ariel Zeitoun, 1997); she has also been credited with revitalising the romantic feminine type known in French literature as “the beautiful Jewess.”
L’Homme is one Femme Homme Les Autres (Guy is a Woman), a 1997 film produced by Jean-Jacques Silbermann, casts her as Rosalie Baumann, an Orthodox Yiddish singer who, after hearing a gay clarinettist play Klezmer music, falls in love with the wrong guy. Zylberstein’s co-star in the film, Antoine de Caunes, has been living with her ever since. With appearances in more than three films per year, Zylberstein has quickly become one of France’s most sought-after young performers. She seems equally at home in the mainstream, commercial movies and in more challenging, experimental cinematic efforts, proving that she is a multifaceted performer capable of handling a wide variety of roles. Raul Ruiz, a Chilean director known for his films’ surrealistic tone and magic realism, cast her in three different roles that each required a different approach. It seems as though she is gliding along the line between reality and dreaming in Ce Jour-là (That Day, 2003), a book wrapped in funny poetry.
Zylberstein’s ability to play characters on the verge of insanity without descending into melodrama has been recognised and praised by experimental directors like Chantal Akerman (of the so-called “Jewish-Belgian school of cinema”), for whom he played a mysterious poet in Demain on déménage with the same whimsical charm. Both the press and the crowds loved Zylberstein’s turn in Demain on déménage (Tomorrow We Move, 2003). Elsa Zylberstein is a theatre legend who has been performing on stage for decades. She has appeared in plays by such renowned authors as Pirandello, Anouilh, and contemporary American playwrights as adapted for the stage. Elsa Zylberstein’s somewhat erratic temperament is only on display in the context of her work. Her gradual development of a humanitarian consciousness and personal dedication in her civilian life led to her appointment as a UNFPA goodwill ambassador and spokeswoman for a “Face to Face Campaign” by the French Senate.
Zylberstein addressed the French Senate about her aim to improve the lives of women across Africa, especially in the French-speaking regions of West and North Africa. There, she wrote that “information regarding sexual and reproductive healthcare is best conveyed from person to person, face to face.” Supporting groups within the community that are most in touch with the needs of the people they serve is therefore crucial. To this end, Elsa Zylberstein is lobbying her own government to redirect a portion of the annual aid given to developing countries away from the redistribution of funds between individual states and instead provide direct funding to local associations that are fighting tirelessly “to prevent women’s death when giving life.
|Elsa Zylberstein Contact Address, Phone Number, Email ID, Website|
|Phone Number||+33 (0)1 40 69 00 30|
|House address (residence address)||Boulogne-Billancourt, France|
101, rue de Lille
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Elsa Zylberstein phone number: +33 (0)1 40 69 00 30
Elsa Zylberstein email id: NA
Elsa Zylberstein Fan mail address:
101, rue de Lille
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