Laura Bartelli is a stripper in a French bar. She retires after a moody landscape architect named Marco Tisserand asks her to abandon her life and share his. However, after her red ... See full summary »
An adolescent groupie (Isild Le Besco) zeroes in on her Blondie-like idol (Emmanuelle Seigner) after the singer chances to cross her orbit on a publicity tour. Gradually their lives intertwine as, with near-operatic intensity, the film delves into the emotional dependency on both sides of celebrity culture.
Isild Le Besco,
Alain Evrard, a trucker who has just finished serving a prison sentence, is forced to temporarily move back to his mother's house. This forced co-habitation causes all the violence of their... See full summary »
In one scene, as Narcisco plays the piano, one shot shows his hands working upwards on the keys (left to right) while the piano music that is heard clearly moves lower and lower in tone, which could only be accomplished by playing the keys right to left. The next shot finishes the musical phrase correctly. See more »
Señora Lunchinski, forgive me for writing to you when we do not know each other. Like so many people who live on this island, I came from another country to find a new beginning. To put myself on the map. One of the forces that drew me was the extraordinary power of your late husband's music. It's a tragedy that there's never been a celebration of his work here on the island. What I'm proposing is a magnificent and unusual concert. We all have our passions, which are so intense to ...
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This film was a shot in the dark. I figured that with a cast like that (Tucci, Ifans, Malone et al.), how could it go wrong? Well, I'm not obsessive enough-or astute enough-to pick out where the problem lies, but after 45 minutes of the story, I bailed. I wasn't interested enough to care what happened to the characters, even to Rhys Ifans, who definitely had the best lines. The synopses you can read in other comments are accurate, but by the halfway point the story still hadn't picked up enough momentum to hint at an interesting outcome. There was one point that bothered me about the proceedings, too: early in the preparations for the concert the dead composer's grand piano is delivered by helicopter to the stage of a natural-i.e., uncovered- amphitheater halfway up a mountain. The story continues, then, a few days later, there is a horrendous thunderstorm that blows in, serves some plot points, then moves on. No mention is made of the priceless Steinway in the open amphitheater. Perhaps there is some use made of the ruined piano later, after the point at which I stopped watching, but nobody even thinks about it during the storm? That struck me as, at best unrealistic, at worst a lapse of the kind I could expect more of in the film. Why bother?
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