24 user 11 critic

Un Amour à taire (2005)

A young Jewish girl looking to escape the clutches of the Third Reich after seeing her parents and sister brutally slain while attempting to make their way to England is sheltered by an old... See full summary »


3 wins. See more awards »
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Cast overview, first billed only:
Sara / Yvonne
Nicolas Gob ...
Marcelle Lavandier
Michel Jonasz ...
Armand Lavandier
Olivier Saladin ...
Kitodar Todorov ...
Adjoint de Breton
Philippe Faure ...
Le Passeur
François Aramburu ...
La Baronne
Thomas Suire ...
Yuli Toshev ...
Chef de camp
Flannan Obé ...
Anne Girouard ...
Miroslav Kosev ...


A young Jewish girl looking to escape the clutches of the Third Reich after seeing her parents and sister brutally slain while attempting to make their way to England is sheltered by an old friend whose status as a member of the "third" sex soon leads the Gestapo pounding on his door as well. Betrayed by a smuggler who sat idly by as her family was casually slaughtered by the SS, terrified Sara flees into the comforting care of childhood summer-vacation chum Jean and his faithful lover Philippe. Though safe for the moment thanks to Jean's quick-thinking plan to pass her off as a Gallic employee of his family's laundry business, Sara watches in horror as her homosexual protector is forced into a Nazi labor camp as a tragic result of a bad decision made by Jean's troublesome brother Jacques. Written by anon.

Plot Summary | Add Synopsis


Drama | Romance | War


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Release Date:

7 March 2005 (France)  »

Also Known As:

A Love to Hide  »

Filming Locations:

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.78 : 1
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Did You Know?


Prix Spécial du Jury (Christian Faure) et Prix du Public au Festival du Film de Télévision de Luchon (2005). See more »


Written by Charles Trenet
Performed by Charles Trenet
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User Reviews

An Impossible for Hollywood
12 August 2006 | by (Mexico) – See all my reviews

This is the second time I vote 10 for a film. I couldn't give it 20, but I would. An extremely rare film. Everyone has already went through explanations about its contents. I will go through something different.

The script is just impossible. Maybe one of the best things I've ever seen. It blows your mind away. It's absolutely brilliant. No gaps. No fissures. No dead ends. As thoroughly crafted as any Shakespearian play. More acts than in any Bergman's film. Every character depicted with their innermost desires, thoughts and emptiness.

I'm still crying, and I don't know why I can't stop. Only real episodes of our absurdly grim history in the news have made me cry because they move moral fibres that I try not to touch, but reality does.

The Hamlet-like play evolves with such a tension, that there are moment when your body engages in the same reeling provoked in your mind. Attention to every small detail has been paid so nothing is left to imagination. The crudeness of the story clashes with the subtlety and perfection of the shooting. Transferred to film, the focus on making you fall inside the spiral of the story is completely intended.

There are no limits regarding directorial skills, acting prowess, costumes, camera angles, colour... a perfect brocade that reminds me of nothing I've ever seen. Maybe we could say that Nicholas and Alexandra was one of those films that tell a story with sheer brutality, and where nothing is taken for granted. Maybe there are others.

I've seen more than 1,500 films in my life. I have memories from a very early age of most of them. But I can't say why this film made me re-think what I teach and what I think about cinematography... and about life.

The violence never goes over the top, but it surpasses any violence I've seen in war films. The issue of love surpasses anything I've ever seen in any romance or read in any novel. The cruelty, the passion, but especially the immense tension that grips you from the very start borders the insane. If there is a film that goes all the way to tell a story, this is the one. Maybe Fanny och Alexander would be the other of the 1,500 I've seen.

Epic in proportions. Epic in the perfect period atmosphere. Epic in its story telling. Epic in resources, both human and material. Epic in a cast that can ask no more from each and every one who took even a small role in the film. Epic in the way it takes your mind and spirit in the most dangerous roller-coaster.

If there's something you could try some day -if you dare, and IF you can, is to analise the way this film was photographed. I usually praise Vittorio Stroraro's work. This film takes advantage of all available techniques in cinematography, but it keeps the traditional, organic, unfiltered reality at face value. Not a small achievement these days.

Again, French cinema is leading the world with stories that make you think, live, feel the crude and sad reality. Not a film for someone with any kind of heart condition or queasy stomach. No horror film can make you feel like this one. This is a film that was never intended to be classified as horror. But you'll meet one of the most horrifying experiences ever. A master piece of art.

If, when the credits start to roll, you don't feel like you're alone and miserable, the last captions will do their work. Believe me, its a roller-coaster that ends in a vertical freefall.

I apologise for using so many superlatives. I couldn't refrain myself.

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