One night at the cinema, Pierre reaches for out to take Anne's hand. She is annoyed and rebuffs him. He feels rejected. This moment begins the story of the disintegration of a couple... ... See full summary »
France, in the 1760s. Born to a bourgeois family, Suzanne (Pauline Etienne) is a beautiful young girl with a natural talent for music. Despite her faith, she is dismayed when her parents ... See full summary »
In late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her... See full summary »
Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Isabelle Huppert abandons her bourgeois friends and a steady relationship for the... See full summary »
Today, Camille turns nine. He had sworn that on his 9th birthday he would show his parents the videos he was shooting on the side-the tail of a cat scampering away, a window, and a veiled ... See full summary »
Since Luc granted a divorce to Pascale ten years ago, he paid generous alimony and left a fine country house as long as their twin sons remain at home. Pascale always acted as if she was ... See full summary »
Boldly unconventional and cheerful, that's how one could describe Babou. Never having cared about social conventions, she is suddenly faced with the realization that her own daughter is ... See full summary »
In the great tradition of deconstructive, revisionist, demoralizing 1990s French historical pieces (Le Roi Danse, Vatel, etc.) comes yet another unjustifiable horror, this time attacking the memory of Mme de Maintenon (wife of Louis XIV). This turgid post-modern melodrama has all the required ingredients by which France's period films of late are expected to regularly shoot themselves in the foot and reflect badly on their country of origin: great costumes and sets and great photography, marred by bad, zombie-like acting (especially on the part of the younger players), faulty narration (to the point that the viewer literally has no clue about whether the players are coming or going), unrealistic dialogue, too literary, yet never to the point, a pervading sense of urgency (every scene is a fresh drama demonstrating that life is a piece of crap devoid of any comic relief), plenty of medical emergencies like in any afternoon TV soap opera, numerous non sequiturs as if the viewer is to be condemned at every turn for caring about what happens next and about a healthy narrative arc. The general impression is one of depression, anemia and absurdity. Oh yes, and plenty of body fluids... The viewer honestly doesn't want to believe any of this happened the way it is shown. We want to believe the history of France and of its greatest characters had some purpose. The music is a horrible hodge-podge of electronic throw-aways and period pieces. The film's style has borrowed all the more questionable elements that make the worst films of Bresson, Godard and Marguerite Duras terminally boring and pointless but without talent, unity and vision. On a more positive note, this film has convinced me to renounce ever seeing another Isabelle Huppert vehicle. I would rather sow lint bunnies into a Gobelins tapestry. The cheery bird songs over the end titles weren't bad, though, but they came a little too late for my taste.
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