|Index||9 reviews in total|
*** This review may contain spoilers ***
I have NO IDEA what the other two reviewers are going on about!
kosmasp's friend is clearly a fool who should go back to watching
trashy action movies. Not only is the film fairly slow-paced (though
not terribly so, if you're used to watching quality cinema and not just
American rubbish), it also has subtitles, which requires reading - I
bet he struggled with that one! As for writers reign: talk about PICKY!
Why should there be any "indication that she has resigned from her
career and returned to her childhood home on a permanent basis"? Her
mother has just died! That's why she's a) returned to her childhood
SUMMER home and b)why she's taken some time off work. If she's
interested in sound, why shouldn't she own SOME recording equipment?
The ONLY thing I found annoying/distracting about this film is that (ironically for a film whose main protagonist is a sound-engineer) the microphone is visible in almost every shot (at least on my DVD copy - maybe it's something to do with the aspect ratio). Nevertheless, a very decent film and well worth the less-than-90mins of your life it will take to watch.
*** This review may contain spoilers ***
The sound engineer Charlotte (Émilie Dequenne) returns from Paris to
her hometown in the countryside after the death of her mother, who was
a clairvoyant card-reader and was murdered in her cottage. In the
opinion of the police, the killer was one of her acquaintances since
the house was not broke in. Charlotte feels hostility from her
neighbors and decides to bug their house using her sound equipment.
However she finds that inside her mother's house, there is a connection
with the past and she can hear what happened there. Charlotte
investigates the leads and discovers the truth about the death of her
"Écoute le Temps" is a boring, messy and disappointing supernatural tale. The story is disclosed in a very slow pace, with a terrible development of the characters and no explanation why Charlotte hated her mother; or why she decided to stay in the countryside; or why she is able to hear the past in the living room of the cottage. The conclusion is also disappointing, without any explanation why the house collapses and a ridiculous last scene. I hope the reviews in IMDb are for real and not fake to promote this movie. My vote is three.
Title (Brazil): "Vozes do Tempo" ("Voices of the Time")
I just watched this very absorbing, interesting film. I don't agree
with the people who think that it was too slow. It just evolved as most
French films do. I was a bit disappointed in the ending which was also
rather typically French, quite abrupt, although everything did wrap up
I also enjoyed the extras with the interview of the writer/director Alanté Kavaïté and the actress Émilie Dequenne
Two questions. Does anyone recognize the songs that were used in the film? Were they in English? I couldn't actually understand any of it. Also, does anyone know the filming locations for this? I believe they said Normandy or Brittany, but I couldn't tell.
I read all your messages and I would like to tell you that Ecoute le temps of Alanté Kavaïté is a really beautiful, sensitive and interesting movie. I saw it two times at the cinema in Paris and it was each time very good. I'm really surprised about what it is written...something about a microphone visible in almost every shot...I assure you, at the cinema, it was a perfect image with a cinema scope version and without any microphone in the shot! if what it is written it's true, for sure the DVD version of this movie is a bad one.... I think that this new film director is talented and I support her work.
*** This review may contain spoilers ***
After her mother's death, Charlotte, a sound engineer living in Paris,
travels to her mother's cottage in the damp grey forested French
countryside. Her mother was a clairvoyant who gave tarot readings to
locals. At the cottage, Charlotte begins to untangle the recent events
surrounding her mother's life and her death.
The pace is slow by American standards, and this may irritate some. But what would one expect of a decent French movie which tends to focus as much on characters as on action. Émilie Dequenne (Charlotte) and the rest of the cast do a fine acting job. The thriller drips with atmospheric cinematography and has a beautiful, rustic, almost Gothic flavor. It is genuinely frightening in places.
This fascinating and innovative film is the feature film debut of Alanté Kavaïté, who wrote and directed it. The IMDb database gives no information about her. However, I have managed to discover that she is identical with Alanté Alfandari, who is listed separately on IMDb. That listing also gives no information about her except that in 2002 she wrote and directed a short film (of unknown duration) called LA CARPE, which deals with a group of friends intending to cook a carp for dinner, but it disappears and flaps around on the kitchen floor despite being entirely invisible. Whereas the film about the carp may have been intended as a joke, this feature film (apparently entitled FISSURES in the USA because of the widening and creaking cracks in the old house featured in the story, and the fissures in the ground beneath) is a very serious work, having in common a preoccupation with the invisible. Alanté, as I shall familiarly call her as I cannot be certain of her real surname since she seems to be two separate people united only by one Christian name (if indeed she be Christian, which is by no means a certainty), is deeply interested in psychic or supernatural phenomena. Her interest in the invisible must relate to herself as well, for she is so invisible that there is almost nothing known about her except that photos of her available on the web show her to be an attractive young woman with dark hair who looks like what the Chinese author Pu Songling calls a 'fox fairy' sprite. Who or what is this invisible woman of no certain identity? Is she herself a ghost, such as those who are continually heard on the soundtrack of this supernatural film of hers? The film stars the young actress Émilie Dequenne, who was 25 at this time. She is exceedingly good in the part. She plays the tautly tense daughter of a mother known to the locals in her rural town as a 'witch' because she has psychic powers, can predict the future, and has powerful clairvoyant faculties. The mother is spookily played by the highly experienced actress Ludmila Mikaël, a veteran of no less than 85 films and still only 63 herself! Dequenne is a specialist sound engineer and recordist for film companies, specializing in natural phenomena, and we see her recording the gurgling of a geyser in Iceland early in the story. Then her mother, from whom she is largely estranged, is unexpectedly murdered and she has to return to her strange and lonely old stone farmhouse, as the only child, to sort things out. Her father lives elsewhere and refuses to join her. The mother's murderer has not been caught, so Dequenne sets about trying to identify the killer. The story is thus a straightforward murder mystery in that sense. But the real content of the film is the exploration of the psychic world. Using her sound equipment, Dequenne discovers that inside her mother's house she can listen to and record conversations which have taken place there in the past. She plots these on a grid of strings which she stretches across the living room. Eventually she discovers that there is a deep hole beneath the floor, and using a plumb bob she suspends a vertical cord down into it, and can record conversations going back in time which can be measured vertically on that cord. By this method, she explores what took place in the house in recent years and tries to identify the murderer, as her mother was killed in the same room. The performance of Dequenne is so convincing, and the direction is so effective, that this apparently silly idea comes across with genuine conviction, and the viewer can provisionally accept it as possible. Then Dequenne expands her own psychic powers and can evoke and see past events happening before her eyes, as she develops more and more of her mother's psychic powers. The mayor of the town is dumping drums of toxic chemicals into holes near the town, a young boy has vanished without trace on the way to his violin lesson, and there are plenty of strange events going on. The locals are surly and unfriendly to Dequenne because of their fear of her mother, although she eventually discovers that nearly everyone in town had consulted her mother for psychic readings and guidance, so that her mother knew all their most intimate secrets. There is also a psychologically disturbed young man who grows and sells organic vegetables (which the French call 'bio', pronounced 'beeo', rather than 'organic') who Dequenne discovers was having a passionate affair with her mother and now becomes fixated on her, claiming that she is now all he has left of her mother. And there is yet another psychologically disturbed young man living next door who has a secret altar to her mother, whom he worshipped. His mother refuses to speak to Dequenne and is horribly rude to her. It is all rather hair-raising and gripping stuff, well done, and it works. So who is the invisible woman who made this film, and when will she next emerge from the shadows with her tarot deck in hand? And yes, the murder is solved, even though the director's identity is not. Which is the greater mystery, the film or the film's conception and realization? And can we record and hear what the invisible director herself said in the past? I have an old plumb bob which I bought in an antique shop in Delphi, maybe that would do the trick, as it comes from the world centre of divination. Maybe this doppelgaenger woman should next attempt to film Par Lagerkvist's novel THE SIBYL, which is set at Delphi in ancient times.
This movie might not be the cup of tea for you. Let me explain. The
supernatural nature of the movie is not the main thing that might
distract or even repel some viewers. It's more likely, that they won't
have the nerve sitting through the movie. Which happened with the
person I saw this with ...
The pace of the movie, was just too slow for my friend, so he was so angry, he actually wanted his "time" back that he lost, during the movie. I believe he wasn't in the right frame of mind for this movie. Not that I do consider this a classic, but it has it's qualities. The story for once (not the most original, but still nice) and the slow pace. Although predictable, it still is worth a watch, if you're a fan of supernatural movies/themes!
Alanté Kavaité's Ecoute le Temps is an interesting idea (albeit one not
a million miles from White Noise) that never develops into a
particularly interesting film. Following the murder of her fortune
telling mother, Émilie Dequenne's sound recordist travels to the
decaying cottage where she was killed and luckily having brought her
sound equipment with her after a few uninvolving and underdeveloped
encounters with the locals, not only finds her mother's voice on
recordings of the creaking house but discovers that by placing the
microphone in different parts of the house she can eavesdrop on
different parts of her past. As she struggles to build a literal
timeline of the recordings so she can isolate the moment of the
killing, the film should start to build up some momentum and tension,
but the film remains for the most part stuck in its position as
disinterested observer, the secrets she gradually uncovers like the
brief glimpses of her troubled relationship with her mother or the
local disputes between organic farmers and the local chemical
fertilizer magnate rather underwhelming and underdeveloped,
emotionally and viscerally.
While it does capture the cold oppressiveness of many rural communities, unfortunately for a film that revolves around sound, the film doesn't trust sound's ability to create atmosphere, never using it particularly interestingly in an unadventurous sound mix and often flattening it altogether with musique concrete scoring. Nor is there any mystery in the recordings, which are dutifully conveyed largely as flashbacks: it's almost as if Coppola decided The Conversation would be so much better if you could understand every word from the start. There's no ambiguity in its soundscape, no questioning of the senses from its heroine - what you hear and see is what you get. As a result, you have a leading character whose job is recording wildtrack sound for atmosphere in a film that has a tough time drawing much atmosphere from its premise, let alone thrilling or chilling in the process, and one where you can't help feeling that for once a remake could actually improve upon significantly.
*** This review may contain spoilers ***
This debut movie from writer director Alante Kavaite won't be released in France until the summer and Londoners were given an early showing as part of the Rendez-vous With French Cinema weekend at the Curzon, Mayfair. Knowing as much about it as anyone not connected with it I was drawn by the name of Ludmila Mikael who has to be one of the loveliest 60 year olds in the Industry (okay, pedants, she turns 60 next month) in addition to being a wonderful actress who doesn't appear in as many non-domestic films as she might but instead illuminates the Paris theatre on a regular basis. Top-billed Emilie Dequenne was an added attraction, this 26 year old is rapidly developing into a fine actress and has already scored heavily in Rosetta, Une Femme de menage and L'Equipier among others. Ecoute sees her as a sound recordist who returns to her childhood home following the murder of her mother (Mikael). For a reason not satisfactorily explained in the script (unless, of course, I missed it) she has brought her sound equipment with her and finds herself able to tune into the past via her recorder. If you can get over the discrepancies here (Sound Engineers do't usually own their own equipment, if they are employed by a television company they just draw it from the Stores on a daily basis, and there is no indication that she has resigned from her career and returned to her childhood home on a permanent basis) this is a fairly decent little film that could do well if it finds its audience and is a promising debut.
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