A personal shopper in Paris refuses to leave the city until she makes contact with her twin brother who previously died there. Her life becomes more complicated when a mysterious person contacts her via text message.
The first real professional success for famed French actress Maria Enders was twenty years ago as the co-lead in writer Wilhelm Melchoir's play and subsequent movie "Maloja Snake", he who picked Maria, then an unknown, personally. She played Sigrid, an opportunistic eighteen year old in an emotionally dependent lesbian relationship with forty year old Helena, who was at a vulnerable stage of her life. Maria has turned down the play's upcoming London revival in which she would now play Helena, it remounted by director Klaus Diesterweg. Her reasons for turning down the role are many including: being at a vulnerable stage of her own life going through a painful divorce; remembering the suicide of Susan Rosenberg, the original Helena, following the original run of the play, the suicide purportedly mirroring what happens to Helena; and the painful memories of the production in still having hard feelings toward who was her older male costar, Henryk Wald, with who she had an affair at the ...Written by
In the opening, the characters are riding in what is clearly a second-class rail car. This would be completely out of character, given what we see later in the movie. See more »
[Against Valentine's suggestions, Maria leads them astray in the Alps]
I think this road takes us to Maloja.
What'll we do when we get to Maloja?
Take the bus.
You know you don't have to keep me on if you find my ideas simplistic.
What makes you say that?
If you find my point of view - uninteresting - I - I don't really know what I'm doing here. I can run lines with you but I don't really see the point. You can find anyone to do that.
All I'm saying is that thinking about a text is different ...
[...] See more »
During the closing credits, four of the actors are shown under the heading "guest appearance by". See more »
Fantastic work from both Juliette Binoche and Kristen Stewart. The latter showed some more naturality in Still Alice and here she has a lot more screen time and is pretty great throughout. It's not an incredibly showy performance, though, not like Binoche's, but I could get behind it for awards love. Chloe Moretz's empty, superficial acting style actually works perfectly for her character here. I doubt it was really much work for her, but it works and she's not a distraction like she usually is. Juliette Binoche is amazing, as always. I could've seen her actually gaining traction for this film (had it been released near the end of the year). The film as a whole is... really weird. It's very entertaining throughout, never once dull, but it feels sort of aimless the more it goes on and while I get what points it was trying to make, it just felt a little too scattered to truly be great.
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