Before "The Office," star Rainn Wilson had a different type of workplace comedy in mind. Presented by "Star Trek: Discovery."
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Title: Mauvais Sang (1986)
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| Cast overview, first billed only: | |||
| Michel Piccoli | ... | Marc | |
| Juliette Binoche | ... | Anna | |
| Denis Lavant | ... | Alex | |
| Hans Meyer | ... | Hans | |
| Julie Delpy | ... | Lise | |
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Carroll Brooks | ... | The American woman |
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Hugo Pratt | ... | Boris |
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Mireille Perrier | ... | The young mother |
| Serge Reggiani | ... | Charlie | |
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Jérôme Zucca | ... | Thomas |
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Paul Handford | ||
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Charles Schmitt | ||
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François Négret | ||
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Philippe Fretun | ||
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Thomas Peckre | ||
Marc (Michel Piccoli) recruits Alex (Denis Lavant), son of his former, now dead colleague. Alex is a card shark with a big dream to go out to the world and leave his own mark. His determination leads him to break up with his girl friend, Lise (Julie Deply). Alex initially refuses to help Marc and Hans for their "job" of stealing the culture of new drug. But Anna (Juliette Binoche)'s charm and beauty were irresistible. Alex joins the elders. Alex's dance to David Bowie's Modern Love illustrates unfolding emotions of young Alex moving into an adult (graying if not dying) world. The interplay among the generations, between genders, among social classes, memory and hopes, all played against black and white and occasional red back drop. Anna's cobalt blue robe punctuates the moment when Alex confesses his love for her. Written by lucidwisdom@gmail.com
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The best thing about this French New Wave throwback certainly isn't the narrative-impaired non-story, in which an aging criminal in debt (Michel Piccoli) enlists the young son of a dead colleague for a daring robbery of a pharmaceutical company. The combination of familiar pulp fiction outline with stylishly indulgent camera technique recalls the early work of Truffaut and Godard, and in true nouvelle-vague tradition writer director Leos Carax eventually dismisses his plot altogether to concentrate, at length and to little purpose, on the visual mood of his film. Along the way a bittersweet romance is (almost) allowed to develop between Piccoli's young mistress (Juliete Binoche) and hired thief Denis Lavant, whose angular punk features and physique (he was trained as an acrobat and mime) provide a fascinating contrast to his co-star's cool, reflective calm. The attention Carax lavishes on Binoche, who isn't required to do much more than simply look demure, may seem to border on infatuation, but some latitude should be allowed for the relative youth of the 26 year old auteur.