This movie is foremost distinguished by the use of a subjective camera, and nearly 100 % of the time consists of close-up of the young girl's face. She is capable of changing her facial ... See full summary »
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Such an inconsequential event - the unfortunate purchase of a package of cling film - reveals the character and behavior of a small group of individuals caught up in the chaos of today's society. Though it creates arguments and inner questioning, this event - and its various consequences - also creates bonds.
This movie is foremost distinguished by the use of a subjective camera, and nearly 100 % of the time consists of close-up of the young girl's face. She is capable of changing her facial mimic so much that she never looks artificial or inappropriate. 39-year-old François meets 22-year-old Muriel, who is a virgin. Several times he invites her to fine restaurants. She agrees that on a certain day they will meet at a hotel and he will see her naked. He promises not to sleep with her at that occasion. He does not keep his promise. She is happy that he didn't. Both continue to be eager for sex. While waiting for the first dish on a luxury restaurant she goes to the men's room and dresses starch naked, while he follows after a few minutes. However, she eventually gets a young boyfriend. She tells him everything. He calls François's wife, who immediately demands a divorce. When François and Muriel meet accidentally in the street, it becomes clear that she feels neither any intent to harm him,... Written by
Max Scharnberg, Stockholm, Sweden
Harel's film, not distributed in the United States, is an uncommonly insightful study of an adulterous affair and perhaps the only film to use a First Person POV in a way that's successful as more than merely a conceit.
Harel is an Parisian executive who seduces a woman circa 20 years his junior, and slowly falls in love with her. The film employs a consistent subjective vantage point (we see his face only twice, as a reflection), daring us to identify with this man in an amoral act for which he has little guilt, whereupon we realize how truly likely it is we might find ourselves in this position. It's more than merely tantalizing; it's challenging and remarkably adult, but without ever becoming austere. Isabelle Carré, who plays his interest, is excellent here, almost always in the dead center of an unbroken shot, in which we watch her melt, break, harden, and everything else.
It's fascinating to witness the complete shift of power and control from Harel, initially the dominant pursuant, to Carré, initially the helpless conquest. At the film's end, the viewer is left with a potent impression of adulterous romance not as it occurs in the likes of 'Fatal Attraction,' but as it might occur to him.
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