An act of revenge takes an unexpected turn in this psychological drama from French writer and director Lola Doillon. Anna (Kristin Scott Thomas) flees a house on the outskirts of Paris and ... See full summary »
Kristin Scott Thomas,
Suzanne is a well married mother, but her bourgeois lifestyle gets her down and she decides to go back to work as a physiotherapist by building an office in their backyard. Then Suzanne falls in love with the man hired to build the office.
Kristin Scott Thomas,
Juliette was 15 years in prison. Confronted with the unexpected goodness of her younger sister Léa, who makes Juliette a part of her family, very slowly breaks up Juliette's ice and bitterness and she carefully opens up. Written by
The note written by Juliette's dead son, which Lea finds by accident, reads: "Un jardin sous la plui c'est doux triste come moi sans toi. Maman je veux pas que tu meure jamais. On sera ensemble toujours. Tu es mon amour. Ton petit Pierre". (A garden under the rain is sweet sad like me without you. Mama I don't want you to die ever. We'll be together always. You are my love. Your little Pierre.) See more »
The novel's narration is impersonal and incomplete, as he refused to give one world view. He knows it's multiple, that intentions are multiple as are truths.
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This may be the film that makes Kristin Scott Thomas's reputation as not a good actress but a great one. It is a French film, and one has to accept the parameters of French 'intimisme'; as such it is wonderful. It is not a question of being a parent or not: it's a question of being ready or not to be swept out of one's daily self by great acting. Elsa Zylberstein is a fine actress (I remember her with affection in 'Farinelli'), but Scott Thomas here surpasses anything she has done before. She is capable, we knew, of making herself nearly ugly ('Angels and Insects'); she can do understated sensitivity ('Four Weddings and a Funeral'); here she gets a part of the emotional power of a Medea or a Phaedra and plays it with the let-it-rip force of a great tragédienne. The film is a vehicle for an actress, and none the worse for that. It is not unworthy of her, and that may be the best one can say of Claudel's work; but that may just be enough. There was a curiously fugitive quality to KST's interviews about this film: one got the impression she didn't really want to talk about it in more than mundane depth. One can see why. It all goes very near the bone. She may want to do a sheer glorious comedy next, just to remind us all of the blithe side of her nature. Long may she live, and work.
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