Un amour à taire (2005) (TV)

Director:

Christian Faure

Writers:

Pascal Fontanille (writer)
Samantha Mazeras (writer)

Release Date:

7 March 2005 (France)

Genre:

Drama

Plot:

A young Jewish girl looking to escape the clutches of the Third Reich after seeing her parents and sister...

Plot Keywords:

Gay Interest

Cast

Jérémie Renier	...	Jean
Louise Monot	...	Sarah / Yvonne
Bruno Todeschini	...	Philippe
Michel Jonasz	...	Armand Lavandier
Charlotte de Turckheim	...	Marcelle Lavandier
Nicolas Gob	...	Jacques
Olivier Saladin	...	Breton
Philippe Faure	...	Le passeur
François Aramburu	...	La Baronne
Miroslav Kosev	...	Stroeger
Maximilien Muller	...	Petit-fils de Sara
Flannan Obé	...	Raymond
Kitodar Todorov	...	Adjoint de Breton
Yuli Toshev	...	Chef de camp
Anne Girouard	...	Léopoldine

Also Known As:

A Love to Hide (International: English title)

Runtime:

France:102 min

Country:

France

Language:

French

Color:

Color

Aspect Ratio:

1.78 : 1

Sound Mix:

Dolby Digital

Certification:

Netherlands:16

Filming Locations:

Sofia, Bulgaria

Company:

Merlin Productions

Soundtrack:

Boum

An Impossible for Hollywood

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.