An accidental discovery near a doctor's estate stirs up some painful memories eight years after his wife's hideous murder, and now, things are bound to take a turn for the unexpected. Does the good doctor know more than he's letting on?
Five close friends, all of them married, share a loft to meet their mistresses. One day they find the body of a young woman in the loft. Since there are only five keys to the loft, the five men begin to suspect each other of murder.
Director:
Erik Van Looy
Stars:
Koen De Bouw,
Filip Peeters,
Matthias Schoenaerts
Shattered by the unexpected news of their irreversible break-up, an aspiring orchestra conductor is puzzled by his girlfriend's mysterious and seemingly inexplicable case of disappearance. But, can he look beyond the facts?
Director:
Andrés Baiz
Stars:
Quim Gutiérrez,
Martina García,
María Soledad Rodríguez
In the MARSHLAND a serial killer is on the loose. Two homicide detectives who appear to be poles apart must settle their differences and bring the murderer to justice before more young women lose their lives.
Director:
Alberto Rodríguez
Stars:
Javier Gutiérrez,
Raúl Arévalo,
María Varod
While the clock is ticking, with the aid of a witness preparation expert, a successful entrepreneur accused of murder has less than three hours to come up with an impregnable defence.
The story of two men on different sides of a prison riot -- the inmate leading the rebellion and the young guard trapped in the revolt, who poses as a prisoner in a desperate attempt to survive the ordeal.
Director:
Daniel Monzón
Stars:
Luis Tosar,
Alberto Ammann,
Antonio Resines
Seven long-time friends get together for a dinner. When they decide to share with each other the content of every text message, email and phone call they receive, many secrets start to unveil and the equilibrium trembles.
Director:
Paolo Genovese
Stars:
Giuseppe Battiston,
Anna Foglietta,
Marco Giallini
The pediatrician Alexandre Beck misses his beloved wife Margot Beck, who was brutally murdered eight years ago when he was the prime suspect. When two bodies are found near where the corpse of Margot was dumped, the police reopen the case and Alex becomes suspect again. The mystery increases when Alex receives an e-mail showing Margot older and alive.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Alex gets an email with the tips user: "concert" + password: "olympia", but he gets no access to the email account. Afterwards, when he hears a U2 song ("With Or Without You") he recalls a past experience with his wife and tries to log in with user: "U2" + password: "1995" which grants him access.
The fact is that U2 only played live three times in 1995, they were no full concerts, and none of them was held at a venue called "Olympia". See more »
Quotes
Bruno:
I owe this guy from 3 years ago. I took my kid to the hospital, all bruised up. Fuckers thought I'd beat up on him. This guy tells the cops it wasn't me, my kid's a haemophiliac. As long as he needs us, we're there, okay?
See more »
It's easy to see how it can be done, but only so often do we get some good 'knock-offs' of Hitchcock films. Sometimes we get outright homages like with Brian De Palma, or we get cheap rip-offs that some of us never see unless digging deep into the thriller bin at Blockbuster. Luckily, the French seem to have it licked, and in this case director Guillaume Canet takes Harlan Coben's pot-boiler and makes it into riveting if not quite linear film-making. You have to stay with the picture as it goes along- at times you may get so confused you'll want to give up- but if you can give yourself just a bit to the twists and paranoia, it's very rewarding.
It's in very simple terms about Alex (Dustin Hoffman look-alike François Cluzet) and his wife Margot (stunning-looking Marie-Josee Croze), who one night go skinny dipping and... no, not one of 'those' movies (slasher). But murder is involved, and we're made to believe Margot was killed and Alex was knocked unconscious that night. Then the story jumps ahead eight years later, when Dr. Alex Beck is now living alone and still sort of mourning his wife as the anniversary of her death comes around. And yet, even as the case seemed to be closed, the police still have suspicions about Alex since he doesn't remember how he got out of the water onto the dock before being knocked out. Another two bodies are found buried near the original murder site, and the case is reopened, with Alex now once again a suspect. Then something else happens...
I don't want to mention much else, for fear of spoiling the daylights (or just boring the hell out of you with exposition), but suffice to say it becomes a mix of elements from the likes of Fugitive, Vertigo (yes, Vertigo, at least one element anyway), and several of Hitchcock's "wrong man on the run" movies. There are things that the director does to keep things moving and fast-paced for fans of real hardcore thrillers (a chase midway through the film might just top Fugitive for sheer audacious move on the part of the hero), but he also makes the audience pay attention very closely to details. Just a subtle close-up of a computer screen with a 'new email', or a moment with Alex's dog, or even a U2 song. And it's crucial to keep up with small scenes that shouldn't seem like they mean much; the director understands all of the components of a warped mystery where characters and motives and even simple twists in a single bound are not what they seem.
Luckily, there is time in the last section of the story where a certain character (I won't say who but it's an older one) who can expound on the exposition that thankfully puts most of the pieces of the story into place. But then even after things are explained, it gets one talking about what's just happened, if everything made sense, and not in that "damn that was no good, too confusing" way. It doesn't underestimate the audience's intelligence or manner to keep up with a story that involves murder, love, lust, cover-ups, power-plays, old rich French guys, and and even a sliver of social commentary at one point. And the cast is uniformly terrific; saying that Clement is like Dustin Hoffman isn't just as comparison in looks, as he's really got the stuff to lead this film as someone you want to stick with 100% (if not the Cary Grant type, then certainly Jimmy Stewart); Cruze, for her moments on screen, is gorgeous and sad and happy and all those things that make up a mysterious character; Kristen Scott Thomas- yes, Kristin Scott Thomas speaks French- is amazing for her time as a supporting character. And don't get me started on the guy who played Margot's father.
It's a work of minor brilliance that, unfortunately, loses its footing in the last couple of minutes with a sentimental coda. For the most part, Tell No One is what we want to see often in American movies, but usually people aren't strong enough to just put it out there without mucking up the style. Canet is a strong director, great with a lost-in-a-pretzel-factory story, and it takes its place alongside the likes of With a Friend Like Harry, Red Lights and The Beat That My Heart Skipped as one of the superlative neo-noirs of 21st century French cinema. Sleeper-tastic!
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It's easy to see how it can be done, but only so often do we get some good 'knock-offs' of Hitchcock films. Sometimes we get outright homages like with Brian De Palma, or we get cheap rip-offs that some of us never see unless digging deep into the thriller bin at Blockbuster. Luckily, the French seem to have it licked, and in this case director Guillaume Canet takes Harlan Coben's pot-boiler and makes it into riveting if not quite linear film-making. You have to stay with the picture as it goes along- at times you may get so confused you'll want to give up- but if you can give yourself just a bit to the twists and paranoia, it's very rewarding.
It's in very simple terms about Alex (Dustin Hoffman look-alike François Cluzet) and his wife Margot (stunning-looking Marie-Josee Croze), who one night go skinny dipping and... no, not one of 'those' movies (slasher). But murder is involved, and we're made to believe Margot was killed and Alex was knocked unconscious that night. Then the story jumps ahead eight years later, when Dr. Alex Beck is now living alone and still sort of mourning his wife as the anniversary of her death comes around. And yet, even as the case seemed to be closed, the police still have suspicions about Alex since he doesn't remember how he got out of the water onto the dock before being knocked out. Another two bodies are found buried near the original murder site, and the case is reopened, with Alex now once again a suspect. Then something else happens...
I don't want to mention much else, for fear of spoiling the daylights (or just boring the hell out of you with exposition), but suffice to say it becomes a mix of elements from the likes of Fugitive, Vertigo (yes, Vertigo, at least one element anyway), and several of Hitchcock's "wrong man on the run" movies. There are things that the director does to keep things moving and fast-paced for fans of real hardcore thrillers (a chase midway through the film might just top Fugitive for sheer audacious move on the part of the hero), but he also makes the audience pay attention very closely to details. Just a subtle close-up of a computer screen with a 'new email', or a moment with Alex's dog, or even a U2 song. And it's crucial to keep up with small scenes that shouldn't seem like they mean much; the director understands all of the components of a warped mystery where characters and motives and even simple twists in a single bound are not what they seem.
Luckily, there is time in the last section of the story where a certain character (I won't say who but it's an older one) who can expound on the exposition that thankfully puts most of the pieces of the story into place. But then even after things are explained, it gets one talking about what's just happened, if everything made sense, and not in that "damn that was no good, too confusing" way. It doesn't underestimate the audience's intelligence or manner to keep up with a story that involves murder, love, lust, cover-ups, power-plays, old rich French guys, and and even a sliver of social commentary at one point. And the cast is uniformly terrific; saying that Clement is like Dustin Hoffman isn't just as comparison in looks, as he's really got the stuff to lead this film as someone you want to stick with 100% (if not the Cary Grant type, then certainly Jimmy Stewart); Cruze, for her moments on screen, is gorgeous and sad and happy and all those things that make up a mysterious character; Kristen Scott Thomas- yes, Kristin Scott Thomas speaks French- is amazing for her time as a supporting character. And don't get me started on the guy who played Margot's father.
It's a work of minor brilliance that, unfortunately, loses its footing in the last couple of minutes with a sentimental coda. For the most part, Tell No One is what we want to see often in American movies, but usually people aren't strong enough to just put it out there without mucking up the style. Canet is a strong director, great with a lost-in-a-pretzel-factory story, and it takes its place alongside the likes of With a Friend Like Harry, Red Lights and The Beat That My Heart Skipped as one of the superlative neo-noirs of 21st century French cinema. Sleeper-tastic!