Julien Janvier lost his mother young, drifted apart from his working class father and ever closer to confident Sophie Kowalsky, the Polish class outsider. Their dares game, symbolized by an... See full summary »
Put in charge of his young son, Alain leaves Belgium for Antibes to live with his sister and her husband as a family. Alain's bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.
In Paris, Ariane and Lena are sisters. Ariane writes photo novellas for the magazine "Toi et Moi." She's emotional and her long-time boyfriend, Farid, has her in a state because he won't ... See full summary »
An accomplished playboy Leo neglects his girlfriend and enjoys parties. His girlfriend parts from him and then, when he wants to see her once more, he has an accident. He survives, but his ... See full summary »
François Durrieux, a man in his forties, married to Clémence and father of Benjamin, has been employed for years by the firm DSBO. In order not to lose his job, he always submits to his ... See full summary »
It's been six months since Rachel Siprien disappeared. At the request of Rachel's mother, private detective François takes over the investigation. The young woman, with a complex and ... See full summary »
Samuel Le Bihan
The pediatrician Alexandre Beck misses his beloved wife Margot Beck, who was brutally murdered eight years ago when he was the prime suspect. When two bodies are found near where the corpse... See full summary »
Julien Janvier lost his mother young, drifted apart from his working class father and ever closer to confident Sophie Kowalsky, the Polish class outsider. Their dares game, symbolized by an interchanged music-box, grows ever bolder, regardless of harm to others and each-other. In his college years, it even suspends their relationship and toys with their marriages, but they are drawn back to each-other irresistibly. Written by
When Julien is at the cemetery on the day after which he and Sophie haven't seen each other for ten years, he wishes Sophie would just appear and sing "La Vie en Rose", a song by Édith Piaf. Marion Cotillard (Sophie) would later win an Academy Award for playing Piaf in La Vie en Rose (2007). See more »
The first time we see the bus driver chasing the bus his hat falls off towards the left side of the road. The second time it drops directly behind him to the right of the middle. See more »
[as Julien is fleeing from the police]
Sophie was back in the game! Pure, raw, explosive pleasure! Better than drugs, better than smack! Better than a dope-coke-crack-fix-shit-shoot-sniff-ganja-marijuana-blotter-acid-ecstasy! Better than sex, head, 69, orgies, masturbation, tantrism, Kama Sutra or Thai doggy-style! Better than banana milkshakes! Better than George Lucas's trilogy, the muppets and 2001! Better than Emma Peel, Marilyn, Lara Croft and Cindy Crawford's beauty mark! Better than the ...
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The first feature from French director Yann Samuell is an "expressionistic" allegory about love, disguised as a romantic fantasy. It is about how in our relationships we never outgrow childhood games or fully recover from the insecurities caused by deep childhood wounds. It is about how people in love constantly test each other. Each dare is a renewed demand for the other person to prove their love, no matter what the sacrifice.
"Love Me If You Dare" is a gimmick translation of "Jeux d'enfants", a better translation would be "Games of Children". But given the general confusion about this film by English speaking viewers and critics the inaccurate title is probably appropriate. Film Theory 101 would include a discussion of the two basic film extremes, realism and expressionism. Generally the closer a film comes to reproducing reality, the less room there is for the filmmaker to express his artistry. Which is not to say that realism is necessarily less manipulative than expressionism, both aim to effect their viewing audience, expressionism is just less constrained.
When you are used to a steady diet of Hollywood realism, it is difficult to switch gears and watch a film like "Jeux d'enfants" without attempting to force it into the realism mold. The temptation is to gloss over the surreal elements and to take everything you see literally. But Samuell has a background as an illustrator and designer. Note the inventive visuals that employ a multitude of cardboard cutouts and idyllic fantasy settings. This is expressionism. Note the accelerated action segments and strange transitions. This is expressionism. Note the interesting time passage montages and flashbacks.
While you sometimes see similar stuff incorporated into a realistic film, it is explained away as a dream, hallucination, or memory. Here it is a tip-off that this is a surreal allegory like Bunuel's "The Discreet Charm of the Bourgeoisie". If you avoid taking "Jeux d'enfants" too literally, stop being judgmental about the actions and motivations of its characters, and focus instead on picking up its allegorical elements you will probably understand it better and enjoy it more.
Then again, what do I know? I'm only a child.
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