5.5/10
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4 user 10 critic

De particulier à particulier (2006)

After 10 years and two children together, Philippe and Marion, finally decide to take a honeymoon Holiday in Venice. At the train station, a abandoned bag filled with money will bring them ... See full summary »

Director:

Brice Cauvin
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Cast

Cast overview, first billed only:
Laurent Lucas ... Philippe
Hélène Fillières ... Marion
Anouk Aimée ... Nelly
Julie Gayet ... Sophie
Husky Kihal Husky Kihal ... François
Anthony Roth Costanzo Anthony Roth Costanzo ... Simon
Charlotte Clamens Charlotte Clamens ... Catherine
Sabine Haudepin Sabine Haudepin ... Mme Fargeon
Melchior Nolte Melchior Nolte ... Paul
Romain Alonso Romain Alonso ... Romain
Inès Alonso Inès Alonso ... Fille Sophie
Thibaut Nolte Thibaut Nolte ... Marc
Erwan Marinopoulos ... Vendeur photo BHV
Evelyne Istria Evelyne Istria ... Mère Marion
Yves Barnouin Yves Barnouin ... Père Philippe
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Storyline

After 10 years and two children together, Philippe and Marion, finally decide to take a honeymoon Holiday in Venice. At the train station, a abandoned bag filled with money will bring them to a different journey. A journey of doubt where reality never quite lies where it seems, leading from separation to reconciliation. Written by producer

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Genres:

Drama

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Details

Country:

France

Language:

French

Release Date:

19 April 2006 (France) See more »

Also Known As:

Hotel Harabati See more »

Company Credits

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Technical Specs

Color:

Color
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User Reviews

 
Only for those who like a challenge
24 August 2006 | by Chris_DockerSee all my reviews

Not a film I can recommend unless you appreciate a challenge, Hotel Habarati is one I found irritating, then hated, then two days later felt a grudging respect for, and eventually came to like for its innovativeness, boldness and the fact that I couldn't easily get it out of my head.

It begins in the waiting room of a railway station. There's a bag, apparently left by mistake - although we are of course aware of terrorist threats with unaccompanied baggage. Should you take it to the lost property or catch the person on the train - or just keep it? When Marion opens the bag at home it turns out to contain money in a none too familiar Middle Eastern currency. She and her husband Philippe had planned to take a holiday in Venice together, away from the children. In the end they didn't go, but tell people they have, making it a private joke between them. The bag appears to have an address tag on it with the words Hotel Habarati (only with the first two letters scuffed out). News comes of a bomb that has been found.

Hotel Harabati starts with some irritating music and seemingly throw away dialogue. The contradictions start to grow and both of the main characters, separately, wonder if they are losing it. The ending, when it comes, totally upsets everything that has gone before. It's a bit like Mulholland Drive where, the first time you see it, you look about you in astonishment wondering whether it's the same movie - only after deep reflection, or maybe multiple viewings, can the linear storyline be constructed.

Unlike Mulholland Drive, there is no set of clues that eventually signify dream sequences or other ways of making sense of the sudden disconnectedness. The ending has a beauty and serenity that require the viewer to re-examine everything that has gone before and either find many explanations for the events (like the unexpected photos of Venice that appear among family shots when Marion gets her film back from the developers) and the individual psyches of the two main characters. Deliberate contrasts tempt you to question the emotional involvements one way or the opposite way, or even (a possible way out) look at the main part of the film as a purely surreal representation of what Marion and Philippe were going through - but if that is the case, then the inconsistencies could perhaps be explained away factually.

While Hotel Harabati (De particulier à particulier) invites repeat viewings, I doubt that director Brice Cauvin has provided anything as simple as corner-of-the-screen explanatory clues the way Micahel Haneke did in Hidden (Caché). More probably it has to be grappled with as a work of art that does not necessarily follow normal rules of storytelling. This may leave it open to allegations of pretentiousness, but there is no denying its fascinating appeal.


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