Margaret Menegoz, the esteemed helm of the iconic French production house Les Films du Losange, whose illustrious portfolio boasted masterpieces crafted by luminaries such as Michael Haneke, Wim Wenders, and Éric Rohmer, among a stellar cast of filmmakers, has sadly passed away at the age of 83. The company's heartfelt announcement confirmed that Menegoz's journey came to a peaceful end in Montpellier on August 7th, her legacy etched in the annals of cinema.
Her life was a testament to an unwavering passion for cinema and a devotion to her artistic collaborators that served as the bedrock of Les Films du Losange's unparalleled reputation. Renowned for her open-minded embrace of European and global cinema landscapes, Menegoz cherished every opportunity to bridge cultures and foster creativity.
For nearly half a century, Menegoz steered the ship of Les Films du Losange with grace and vision, taking the reins in 1973. Under her stewardship, over 60 cinematic gems were born, including Haneke's poignant Amour, which garnered five Oscar nods in 2013, including a Best Picture nomination for Menegoz herself, ultimately triumphing as Best International Feature Film. The White Ribbon and Cache, also from Haneke's pen, further adorned her resume with accolades, earning multiple Oscar recognitions.
Wenders' timeless classic The American Friend from 1977, Volker Schlöndorff's romantic Swann in Love (1984), Agnieszka Holland's poignant Europa Europa (1990), and Rohmer's enchanting A Tale of Springtime (1990) and A Tale of Winter (1992) are just a few of the many treasures she nurtured into existence.
Born in Hungary amidst the tumultuous post-war era of 1941, Menegoz's family, of German heritage, was forced to flee the country following the 1945 Siege of Budapest. Her formative years were etched in Germany, where she nurtured dreams that would eventually lead her to Les Films du Losange in 1975, an institution founded by Rohmer and Barbet Schroeder in 1962. Initially joining as Rohmer's assistant on the enchanting Marquise Of O, starring Edith Clever and Bruno Ganz, she soon found herself at the helm of the company when Schroeder was immersed in preparations for his Mistress. And there, she remained, shaping the destiny of Les Films du Losange and countless cinematic dreams.
Throughout her illustrious career at Les Films du Losange, Menegoz collaborated intimately with a veritable pantheon of European auteur giants, spanning the likes of Wenders, Rohmer, Haneke, Andrzej Wajda, Lars Von Trier, Margarethe von Trotta, Christian Petzold, and Rainer Werner Fassbinder. Her partnership with Austrian maestro Haneke commenced with the groundbreaking 2001 film, 'The Piano Teacher,' and flourished thereafter, nurturing every subsequent German- and French-linguistic masterpiece he crafted, including the profound 'Amour,' starring Jean-Louis Trintignant, Emmanuelle Riva, and Isabelle Huppert, and most recently, the haunting 'Happy End,' once again graced by Huppert's presence.
In 1986, Menegoz pioneered a theatrical distribution arm for Les Films du Losange, further expanding its horizons with an international sales division in the early 90s. Her legacy reached new heights in 2021, when she orchestrated the seamless transition of the storied company to Alexis Dantec and Charles Gillibert, ensuring its continued vitality and influence.
Beyond her formidable professional achievements, Menegoz was an unwavering ambassador for French cinema, leading the cinema export organization Unifrance as its president in the wake of her predecessor and cherished friend, Daniel Toscan du Plantier's sudden passing at the Berlin Film Festival in 2003. She presided over Unifrance until 2009, leaving an indelible mark on the international film landscape.
"Margaret didn't merely work internationally; she embodied it," eulogized Daniela Elstner, the current managing director of Unifrance, whose own career in international sales germinated at Les Films du Losange. "Her productions are a testament to her vision, her philosophy, and her boundless love for the world. She was a beacon for countless young women, including myself, who learned from her the boundless possibilities of cinema that encourage us to think beyond the conventional. Thank you, Margaret, your absence will be deeply felt."
