Paris, 1942. Robert Klein cannot find any fault with the state of affairs in German-occupied France. He has a well-furnished flat, a mistress, and business is booming. Jews facing ... See full summary »
Frederique (Huppert) leaves her family's small-town trout farm to embark on an journey taking her to Japan and into the arms of a man. Irritations concerning her actions and present state ... See full summary »
The Oxford professor of philosophy Stephen has two favorite pupils, the athletic aristocrat William and the Austrian Anna von Graz. Stephen is a frustrated man, with a negligent wife, Rosalind, who is pregnant of their third child, and is envious of the Oxford professor Charley that has a television show. Stephen feels attracted to Anna, but William woos her and she becomes his girlfriend. Charley has a love affair with Anna but when things go wrong, Anna must leave town. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
[reading from learned journal]
A statistical analysis of sexual intercourse at Colenso University, Milwaukee showed... that 70% did it in the evening, 29.9% between 2 and 4 in the afternoon and 0.1% during a lecture on Aristotle.
I'm surprised to hear that Aristotle is on the syllabus in the State of Wisconsin.
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A haunting film that scratches the surface of a tortured life.
Accident is mesmerizing. Floating through the details of an appropriately Pinter-esque life, we are given a kind of psychological portrait in which we learn little more than what we can visually observe.
The most emblematic scene in the movie shows two people standing with their backs to us, leaning against a fence. One of them, just before the cut, breaks a twig from of the branch above him with a swift, almost violent motion. The movie itself keeps its back to us, refusing to yield its secrets while occasionally holding out before us strangely telling details.
The quiet narrative is punctuated by shots of cold, precise symbolic weight. Although they do not generally interrupt the pace, or shock us, they have a feeling of violence to them; shots of a house, tracking in extremely slowly until we hear the sound of a terrible car crash, or in which the camera moves, in close-up, between stone gargoyles to the beat of a cathedral bell hint at the ugliness behind the veneer of the character's lives. If nothing else, Accident is triumphant in its ability to convey a sense of existential rot that is somehow simultaneously hidden and apparent.
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