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Title: Friday Night (2002)
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| Cast overview, first billed only: | |||
| Valérie Lemercier | ... | Laure | |
| Vincent Lindon | ... | Jean | |
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Hélène de Saint-Père | ... | Marie |
| Hélène Fillières | ... | La femme fatiguée | |
| Florence Loiret Caille | ... | La jeune fille du flipper (as Florence Loiret-Caille) | |
| Grégoire Colin | ... | Le jeune homme en parka | |
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Gilles D'Ambra | ... | Le mari de la femme fatiguée |
| Micha Lescot | ... | Le réceptionniste | |
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Gianfranco Poddighe | ... | Le maître d'hôtel |
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Nordine Barour | ... | Le serveur |
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Lionel Goldstein | ... | L'acheteur |
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Didier Woldemard | ... | Le chauffeur de la camionnette |
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Nicolas Struve | ... | L'homme de l'accrochage |
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Jérôme Pouly | ... | Le deuxième homme de l'accrochage |
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Nausicaa Meyer | ... | La femme de l'accrochage |
Having packed up her possessions to move in with her lover, Laure is more unsettled than she appears. Needing to get out and have a change of scenery, she jumps in her car to go to have dinner with friends--only to become stuck in a terrible traffic jam. Laure completely forgot about the mass transit strike that has thrown the city into chaos. But Laure feels good in her car, the only place she has for herself right now. As she takes in the sights and sounds around her--the blare of horns and arguments, the shimmer of lights and camaraderie--Laure notices a calm and self-assured stranger, Jean, approach her car. Soon thereafter, she opens her car door door to the man who--that night--will change her life. Written by Sujit R. Varma
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This was a damn good movie. Very different, the closest movie that comes to the feel and over all effect is The Loss of Sexual Innocence. Movies such as this catch many off guard because they don't follow the de facto movie format. Meaning, an event happens, people react to said event, drama, conclusion, resolution.
This movie takes a totally different approach, and that's what makes it shine. This movie defies being labeled as a movie altogether. People say this movie is boring, that nothing happens, there are almost no words. They'd be right, there is no real drama, conclusion, resolution. I don't believe that's what this movie is even about.
From the opening moments of the Paris rooftops I knew I was in for something special. The long shots, the turning off of lights, the gazes at the Paris skyline. This was a visual feast with poetic credentials, and I expected as much.
Folks, this movie was not about Jean and Laure. I believe thats where all the critical flack stems from. This movie isn't about a brief encounter that is over by sunrise. The plot that you all speak of, that's secondary.
The movie tends to focus on their surroundings more so then them. A cluttered car, a heater, traffic, boxes. A best example of this is their skin, during the sex scenes there are close ups of their skin rather then showing them making love. As if the plot, in this case, making love, is secondary to the poetic element of the story.
In any given event, the surroundings are just as important as the story itself. This movie displays that perfectly. That is the purpose of this movie, that is it's beauty, that is what it is about.
If this movie is about the surroundings rather then a plot or story, then what would be the purpose of showing rooftops, skin, lamps, boxes? Because is it life, and it is poetic and beautiful. What is the purpose of a rose? Why take a picture of it, or give it to someone? A rose simply is, this movie simply is. The nuances of life deserve appreciation and this movie pays homage to that fact. That is what this movie is about.
It is life, it is the beauty of everything around you.