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 »
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 »
Early in the 19th century, Edward and Carlotta, in love 20 years ago, find each other and marry. After a year's bliss at his Tuscan villa, Edward begs to invite Otto, an architect and ... 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 »
On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is ... See full summary »
Betty and Victor are a pair of scam artists. One day Betty brings in Maurice, a treasurer of a multinational company. Maurice is due to transfer 5 millions francs out of Switzerland, and ... See full summary »
Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music - with different approaches to love, suffering, and death.
Idiossyncratic, infuriating non-linear autobiographical fantasia - for director fans only
Werner Schroeter has made his entire career as a sort of cursed outcast of the Fassbinder generation of German cinema, alternating highly personal film projects with stage work, directing both opera and theatre productions. "Deux", written expressly for the great Isabelle Huppert (with whom Schroeter had already worked twice previously), is as idiossyncratic and infuriating as any of his previous work, probably more so because it's designed as a sort of "surrealist autobiography" where the director is actually portrayed as two female characters, apparently twin sisters unaware of each other's existence, both played by Huppert. That's about the extent of what you can actually get out of this non-linear transgender fantasia as far as a "plot" goes, since the film is basically an apparently random (and often impenetrable) collage of episodes in the life of both women and also their mother, without any rhyme or reason other than the baroque, operatic transfiguration of Schroeter's own memories into art for art's sake. There's an undeniable visual talent at work here and Huppert's mesmerizing immersion in Schroeter's peculiar universe is outstanding, but the lack of any narrative landmarks for the viewer to anchor himself to eventually turn "Deux" into a radical, experimental piece aimed squarely at a hardcore niche of arthouse audiences aware and knowledgeable about the director's work.
17 of 24 people found this review helpful.
Was this review helpful to you?