In the middle of the night, someone brings Ivan's body home to his wife and his sad-faced, jug-eared son. Through flashbacks, the film discloses the relationships among Ivan and his brother...
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Simon de La Brosse
A crime writer living in Venice while working on his new novel meets and soon marries his real-estate agent. Relocated to a remote house on Sant'Erasmo Island, his obsession with his wife's daily whereabouts takes a dark turn.
In the middle of the night, someone brings Ivan's body home to his wife and his sad-faced, jug-eared son. Through flashbacks, the film discloses the relationships among Ivan and his brother Alex, a cop with a cleanliness fetish; siblings Juliette and Jimmy, Ivan's partners in a seedy nightclub; the love triangle of Alex, Juliette, and Marie, a professor of philosophy; and of Alex and his nephew, Ivan's dour, stoic son. Ivan's death changes every relationship. Images of paragliders, sun bathers, and opera suggest an expansive, colorful world outside the constricted lives of these characters.Written by
Catherine Deneuve was hesitant at first to play the character of a woman falling in love for another woman, but Andre Techine managed to convince her. See more »
Before Christ was a time of orgies. Then came love.
Love's less fun.
Probably. In orgies you give your all. No more, no less. In love, it's never enough. It's always too much or not enough.
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Written by Mohamed Khelifati (as C. Mami)
Performed by Mohamed Khelifati (as Cheb Mami)
(C) BMG Music Publishing France (BMG)
Collection Navy Blue Silver
Avec l'aimable autorisation de Totem Records See more »
A love triangle. A crime story. A drama about fraternal conflict. All could make fine stories on their own, but in this film they're thrown together, and then given a philosophical spin (appropriate, since one of the characters is a philosophy professor). It's also more character-driven than you'd expect from this type of story; we are taken into the character's motivation, so we understand their actions, rather than have them driven by plot machinations. And it's done like a novel, flashing back and forth, so actions unfold gradually to reveal another layer. Unfortunately, as, it seems, with many films from France, the story doesn't so much end as stop. This may be appropriate with something like, say, UN COEUR EN HIVER, but it left me feeling a little cheated here. Still, this is worthwhile viewing.
Of the actors, the only ones which are immediately familiar to me are Daniel Auteuil and Catherine Deneuve. Auteuil is playing someone who has trouble expressing himself, a character he seems to specialize him, based on what I've seen of his films (JEAN DE FLORETTE/MANON OF THE SPRING and UN COEUR EN HIVER), and he does another fine job here. I've never been a fan of Deneuve; I usually find her too inexpressive and icy. Here, however, she plays a character you usually don't find in crime films; an older woman having an affair with someone younger (here, a woman) who isn't fading or scheming. She makes Marie, who at first seems didactic, fully human.
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