|Index||8 reviews in total|
This first feature by Romain Gavras is a violent, perplexing road
movie. Occasionally funny or flat-out surreal, it follows the mutually
supporting shenanigans of two psychologically marginalised Frenchmen.
Patrick is a psychiatrist about to collapse under the weight of his own
ennui; Rémy is an immature young man, introverted by the internet, his
red hair and sexual innocence. The latter provides the former with a
project and, bonding over the tenuous topic of their red-headedness,
they lurch off into a self-perpetuating zig-zag, initially searching
Those who have seen the remarkable video Stress for the dance collective Justice might have been prepared for the verité, taboo- stomping and sheer chaos with which the couple's adventures are recorded. The Cassel of La Haine (1995) is suddenly back on the screen, playing out a tamer version of Man Bites Dog (1992), the blinkered nonsense of the French philosopher-outlaw. It has the same dangerous, pulpish quality, especially with Olivier Barthelemy's Rémy in tow becoming ever more confident to confront people without understanding why.
I liked the deluded anarchy, especially shrouded in pathos as both characters clearly feel doubts nibbling away at their state and behaviour. A smattering of other films are suggested in passing - the recurring shots of industry put me in mind of Antonioni's Red Desert, and the latter shots of the bald-headed inmates of THX1138. The men's flight is from social systems and these films are good basic templates. For me the power of the film is in the borderline- B-movie, invigorating action that their desperation drives them to. Difficult to swallow in places but strong nonetheless. 6/10
*** This review may contain spoilers ***
The immediate difficulty with this film (and perhaps it might be my
television), is the lack of 'redness' in the protagonists' red hair.
Lacking that singular feature upon which much of the angst is based,
the movie is flatter than last Tuesday's Ginger Ale.
It's a nice ride at times, but the absolute lack of cohesion, rather than contributing to an anarchic or devilish tone, merely spreads itself like melting butter: not attractively, pointless and ultimately unpalatable. Basically, I was left with the Cosmic Question: "Who cares?" So much appeared forced. The most awkwardly obvious 'artistic' endeavour was the injection of bouncing, female breasts. Perhaps shocking or titillating, but cleverly balanced by sticking a fat, little, VERY young outsider of a female to watch the proceedings. She appeared as bored and uninterested as the audience probably was.
A solid, imperial miss. Of the target. It can be enigmatic when the audience is teased with an element of "What the hell is really going on?" but when the Director doesn't seem to know, it's simply fatal.
*** This review may contain spoilers ***
Well 'Our Day Will Come' is not what I expected after seeing the
trailer and hearing good things about it.
Patrick's little speech while smoking a cigarette was probably the highlight for me.
The only other remotely interesting scenes was when Remy found out his internet date was a bloke and everyone laughed at him.
So he is gay or not? Does it matter? Where was this movie going????
A French Thelma and Louise, with silly scenes of little importance, a masturbation scene in a jacuzzi which is hard to tell exactly what hes doing actually.
I found Our Day Will Come totally mediocre at best.
Wow! There's something innately thrilling about a film that is
constantly on the verge of it's own self-destruction, of teetering on
the edge of believability, and at the same time completely committed to
its own madness.
Absolutely enjoyed the experience. I set out to screen Alexander Payne's 'The Descendants' at the beginning of the evening and found myself a bit depressed and bored after the first ten minutes. (Usually the ten-minute mark is the fork in the road for me.)
On the glowing advice of a workmate I decided to screen 'Our Day Will Come'. This was the pill I needed.
Gavras' hand on the wheel here is even, lucid, and in control. But the bizarre turns of events, chance meetings which either bear fruit or become deeply passionate relationships, and the film's unique shimmy all had me seduced.
Fun stuff. To be taken with laughter and not to be taken lightly. Where do we go from here, Gavras? We don't know. Take us there.
I knew nothing about this, just the fact that Vincent Cassel was
starring. But I'm not sure there is a way to prepare for this really
wild ride you're about to take while watching this movie. Cassel
obviously has a lot of fun depicting the character he's portraying on
screen here. He gets really OTT with it and it works more than fine.
He's co-star is good too, both introduced in short segments, but both
having something in common, that is more than the color of their hair.
The movie that also has some nudity in it (male and female), will appall a lot of people, just by being so apparently crazy. It doesn't seem to have a goal (or a destination), especially at the beginning, but it's more about the journey itself. A journey that has no moral implications, but is just a wild day/night out. Do not try those things at home ;o)
Romain Gavras' debut feature Notre Jour Viendra arrived without any
formal connection to "Born Free," the 9-minute music video he directed
for artist M.I.A., released just months earlier in 2010. But to fully
grasp the context of this mad epic, "Born Free" should be considered
required viewing. The short violently depicts the regimented and
senseless capture and execution of people with red hair by squadrons of
roaming military men around Los Angeles. "Born Free" provoked such
controversy that its appearance on YouTube was censored or removed
altogether the day after its April 26 premiere, deemed gratuitous,
inappropriate, and sensational, not to mention anti-American.
Regardless of its reception and interpretation, few could have known
that "Born Free" was merely act one in a significantly grander "arc de
roux" that Gavras would soon recommence.
Notre Jour Viendra, however it was conceived, portrays the struggle of two men with red hair. They may not live in the same world as the poor guys in "Born Free," but their existences are duly threatened by a set of much more realistic circumstances; latent discrimination against redheads in everyday life. With little explanation, Gavras' strange directorial debut takes the idea of the embattled redhead (not to be mistaken for some esoteric metaphor, this time) and brings us to the break of a silent swell of irate frustration in a saga of the same thread, already begun in a land far away.
The tale unravels with precision and fury, yet leaving quite a bit of room to the imagination. Gavras makes direct hits with every point of humor, but the hearty laughs ring out across an expanse of cruelty that we ourselves must question, and that our two protagonists, Patrick (Cassel) and Rémy (Barthelemy) are determined to traverse. Of the duo, Rémy, with hair the color of earthy rhubarb, the young man, might be seen as the "Born Free" video to Patrick's Notre Jour Viendra. Rémy is young and foolish. The world hates him. He understands neither himself nor the way the people treat him; senselessly. Patrick is middle-aged, somewhere between auburn and gray. A practiced red-head with a bitter, wizened view of the big picture. Which he finds himself orienting young Rémy with on their charge north to Ireland, a perceived haven for their kind. But what begins as a half-hearted escape escalates with ever-growing magnitude during a serious of encounters with a computer lab full of gamers, some Arabs at a bar, a car salesman, and some knockabout kids among others.
Sébastien Akchoté's original score deftly permits the audience to revel in the fleeting pleasure of the film's happier moments, but unrelenting in its careening trajectory towards an ominous and unimaginable (yet potentially glorious) outcome. Darker than drugs, Bergman bleak, played with subtle irreverence, and full of scenes that beg multiple interpretations and viewings, Notre Jour Viendra marches defiantly and unravels maddeningly towards its crescendo in 80 short minutes to claim mortal entry into any "Best of 2010" list that a disappointing number of sleepy, groove-lacking critics should be revising with fearful diligence...just in case the beautiful, red creatures of the world manage to forsake their impending extinction of rumor and rise up with the flames of savage retribution for the cruel prejudice and chilling apathy they've endured for so long.
Here's hoping for a third act to come in this provocative, inspired chronicle. Vive les roux! Vive les vermäs!
vermä 1. noun an attractive person with red hair 2. interjection used to express admiration for or attraction to someone with red hair 3. adjective vibrantly or alluringly red
The outcast red-haired teenager Rémy (Olivier Barthelemy) is bullied at
school and lives with his estranged mother and sister in France. The
also red-haired psychiatrist Patrick (Vincent Cassel) befriends Rémy
and helps him to release his repressed hatred and sexuality. When Rémy
sees a picture of red-haired people in Ireland, he forces Patrick to
travel with him to his dreamland.
"Notre Jour Viendra" is a dramatic and pointless journey to rage and self- destruction by the son of Costa-Gravas, Romain Gravas. The overrated film is painful to watch and goes nowhere, despite the good performances and the excellent music score. My vote is two.
Title (Brazil): "Nosso Dia Chegará" ("Our Day Will Come")
I attended the screening of "Our Day Will Come" at SXSW and I was
pleasantly surprised. The movie is a road rage of destruction and
carnage and I sat at the edge of my seat and just thought how cool is
this! However after seeing the movie I had completely fallen in love
with it, but afterwards as I saw it once again, I began to realize some
First and foremost the dialogue feels forced at some times. In a certain scene Romain Gavras seems unsure on how to proceed and suddenly skips to the next scene and makes the following scene a bit unbelievable.
Second it seems unrealistic, that the boy in the movie really thinks his utopia is Ireland. It feels more like an excuse to get the film moving forward.
This being said the movie has one of the best psychedelic soundtracks and it makes the ending even more memorable and emotional.
The cinematography is also sublime. It reflects perfectly how the main characters feel.
Vincent Cassel plays his character with a cool ironic distance and with a spark in his eye, which makes him more believable as the intelligent and arrogant man he plays.
All in all this movie doesn't not play on dialogue, but its force is the way it depicts an emotional meltdown for two persons and how it effects the world around them. The movie brings back memories to when I saw "Clean, Shaven" and "Our Day Will Come" is definitely in my top 10 movies of all time.
|External reviews||Official site||Plot keywords|
|Main details||Your user reviews||Your vote history|