6.3/10
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9 user 34 critic

The Thorn in the Heart (2009)

L'épine dans le coeur (original title)
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Michel Gondry chronicles the life of Gondry family matriarch, his aunt Suzette Gondry, and her relationship with her son, Jean-Yves.

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Writer:

2 nominations. See more awards »
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A man entranced by his dreams and imagination is love-struck with a French woman and feels he can show her his world.

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Presentation of the "Film B" of "The Science of Sleep" Max Linder cinema in Paris. In the presence of its director, Michel Gondry, and some people from the film crew.

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Cast

Cast overview, first billed only:
Suzette Gondry ...
Herself
Jean-Yves Gondry ...
Himself
...
Himself
Sasha Allard ...
Herself
Paul Gondry ...
Himself
Remi Andre ...
Himself
Lucas Andreo ...
Himself
Laura Arjailles ...
Herself
Sophie Balderelli ...
Herself
Viviane Bastide ...
Herself
Henri Bec ...
Himself
Gabrielle Bell ...
Herself
Denis Bertaux ...
Himself
Denis Bertavy ...
Himself
Francis Bertot ...
Himself
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Storyline

Michel Gondry chronicles the life of Gondry family matriarch, his aunt Suzette Gondry, and her relationship with her son, Jean-Yves.

Plot Summary | Add Synopsis

Plot Keywords:

aunt | See All (1) »

Genres:

Documentary

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Details

Country:

Language:

Release Date:

2 April 2010 (USA)  »

Also Known As:

The Thorn in the Heart  »

Box Office

Opening Weekend:

$5,173 (USA) (2 April 2010)

Gross:

$6,994 (USA) (9 April 2010)
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Company Credits

Production Co:

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Technical Specs

Runtime:

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Did You Know?

Connections

Referenced in Is the Man Who Is Tall Happy? (2013) See more »

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User Reviews

 
Very poor, voyeuristic effort
15 January 2011 | by (Ireland) – See all my reviews

Gondry's movies are usually strong because they're visually original, creative and have a unique DIY innovative edge, while reflecting genuine humanistic tendencies.

The life of the director's aunt is used here in that vein - except there's willingly little to enjoy visually: Gondry attempts to shoot a documentary and aims at a certain 'realism'. Except here, maybe because he's familiar with the cast, which would allow him to ask intimate questions to relatives in the private sphere, 'realism' becomes 'voyeurism'. Questions asked to the poor cast are just plain bad taste. And the humanistic tendencies Gondry so beautifully explored in all his previous movies are travestied in facebook-era voyeurism.

A poor, disappointing 'effort' which can evoke, quite oddly, the most sadistic of Andre Gide. Except Gide is fully aware of what he's doing - which Gondry doesn't even notice.


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