The 35-hour work week has all of France in its thrall. This film turns it into a feature about economic and familial politics. Frank, a business school graduate, returns to his provincial ... See full summary »
In December of 1999, François organizes a retreat to a small island for himself, some friends, and their children to avoid the craziness of Paris during the turn of the millennium. Things ... See full summary »
When a young street vendor with a grim home life meets a woman on her way to Paris, they forge an instant connection. He changes all the clocks in Taipei to French time; as he watches ... See full summary »
Two business executives--one an avowed misogynist, the other recently emotionally wounded by his love interest--set out to exact revenge on the female gender by seeking out the most innocent, uncorrupted girl they can find and ruining her life.
Recently fired from his job, but unable to confess the truth to his close-knit family, Vincent spends his days driving around the countryside, talking into his cell phone and staring into space. Vincent fabricates a new job for himself so his family and friends will not know that he is out of work. At one point, he even sneaks into an office building. As Vincent roams the building's sterile halls, peeking into meeting rooms where men are busy at work, we see a man who yearns not just for a new job, but also for a place in the world. While this pantomime of work initially registers as sad and even a little pathetic, it slowly and unnervingly becomes terrifying. Written by
Sujit R. Varma
A middle-aged middle class family man has a mid-life crisis.
Hardly an inspiring or original idea, yet Laurent Cantet creates a quite devastating and compelling landscape of one man's internal terror
terror at his situation and complete inability to express his
Through Cantet, a combination of economic script, astonishingly sparse and subtle performances, and Pook's deeply moving musical score, takes the viewer on a journey of displaced despair and futile attempts to paper over the cracks. Recoing is captivating, his face a turmoil of quiet bewilderment and pain, and he is ably matched by Viard as his increasingly unsettled partner. The penultimate scene between Recoing, Viard and their children is quite astonishing for its tension and disquiet.
In the end, however, the final scene says it all. Recoing's face tells us everything we need to know, and he really should have won every award going for this brilliant performance. Once again the French film industry shows us all how to make films.
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