Alessandro teaches musicology at the university of Strasbourg. He is also a volunteer reader in hospitals. He shares his apartment with his daughter, 15-year-old Irina, and his anarchist ... See full summary »
Suzanne is a well to do married woman and mother in the south of France. Her idle bourgeois lifestyle gets her down and she decides to go back to work as a physiotherapist. Her husband ... See full summary »
Kristin Scott Thomas,
Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.
Put in charge of his young son, Alain leaves Belgium for Antibes to live with his sister and her husband as a family. Alain's bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.
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 sé doux triste come moi san toit maman je veus pas que tu meure jamai on sera ensemble toujour tu ai 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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Oliver Stone fans beware: This movie doesn't knock you over the head. Everything is understated, from the screenplay, to the way the movie is shot, to the understated performances. Best is the Oscar-winning (that's a prediction!) Kirsten Scott-Thomas. Her nuanced and deep performance says so much more about her character than any other mode of presentation.
It's interesting that KST has done better with her French roles than her English-speaking ones. Perhaps it's the nature of her material. Perhaps it's that as a second language, French allows her face and body to do much of the acting. The subtle changes in her character from beginning to end is as nuanced as the movie, but discernible and clear, made more believable by the way KST takes us there.
As for the closing denouement, without spoiling: Does it really matter why she was gone, what she did, or why she did it? This film rightly focused us on her as a person with a past, rather than what the past was.
Il y'a longtemps que j'ai vu un film francais si bon!
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