Put in charge of his young son, Alain leaves Belgium for Antibes to live with his sister and her husband as a family. Alain's bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.
Liège, Belgium. Sandra is a factory worker who discovers that her workmates have opted for a EUR1,000 bonus in exchange for her dismissal. She has only a weekend to convince her colleagues to give up their bonuses in order to keep her job.
Directors:
Jean-Pierre Dardenne,
Luc Dardenne
Stars:
Marion Cotillard,
Fabrizio Rongione,
Catherine Salée
Sint-Truiden, Belgium. Jacky, a young cattle farmer who is constantly pumped on steroids and hormones, is approached by a veterinarian to make a deal with a notorious beef trader.
Biopic of the iconic French singer Édith Piaf. Raised by her grandmother in a brothel, she was discovered while singing on a street corner at the age of 19. Despite her success, Piaf's life was filled with tragedy.
Director:
Olivier Dahan
Stars:
Marion Cotillard,
Sylvie Testud,
Pascal Greggory
In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor.
Director:
Thomas Vinterberg
Stars:
Carey Mulligan,
Matthias Schoenaerts,
Michael Sheen
Put in charge of his young son, Alain leaves Belgium for Antibes to live with his sister and her husband as a family. Alain's bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.
The script saw Marion Cotillard and Matthias Schoenaerts' characters as more equal, but in the editing room, Ali and his son Sam became the beating heart of the film. Jacques Audiard told that the complicated thing was finding a balance on how to make time pass, in the writing and in the editing room, but also finding the balance between the two characters. Because for a while, both characters were equals, but now the main character is the man, he's the one who gives the complete arc to the film, because of the kid. Audiard had this idea that the kid was like a silent narrator, because you see him with his eyes closed at the beginning, and you see him wake up at the end. That story, with the incredible and monstrous images, with the orca and the fights and the woman with no legs, is like seeing through the eyes of a lost child. See more »
Goofs
When Ali first carries Stephanie to swim in the sea, as he lifts her off the sun lounger, the actress's real legs cast a shadow. See more »
Quotes
[first lines]
Sam:
I'm hungry. I'm hungry.
See more »
This Audiard film is one that grows on you. For quite some time into the film it seems both the film and its main characters aimlessly sit in their cocoon without breaking out. One feels some very vague potential in people but somehow their very lives seem the greatest impediments to its blossoming. One wonders what the film is about and where it is going. Like its characters, it feels like a bunch of loose ends aimlessly hanging about. But I must say that at the end of the movie it has grown on you: suddenly, as the story progresses, the film hatches, the characters break out of their cocoon and in retrospect one feels one has been witness to the improbable -and yet realistic- birth of an unusual but deep love story between two common people. The story has a hidden intensity of screenplay which is intensely performed by Schoenaerts and Cotillard. It creeps beneath your skin. If you like Audiard's way of developing gradual character drama with an intensity that seems to be implicit, buried beneath trailer-trash but still strongly present, you'll like this film. It's a story of how one can find anew a purpose in life when one feels like wasted trash. I watched this film in a full theatre of some 300 people. At the end most everybody sat silent for some minutes. It seems the film had touched something inside quite some of us there. Film as it should be.
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This Audiard film is one that grows on you. For quite some time into the film it seems both the film and its main characters aimlessly sit in their cocoon without breaking out. One feels some very vague potential in people but somehow their very lives seem the greatest impediments to its blossoming. One wonders what the film is about and where it is going. Like its characters, it feels like a bunch of loose ends aimlessly hanging about. But I must say that at the end of the movie it has grown on you: suddenly, as the story progresses, the film hatches, the characters break out of their cocoon and in retrospect one feels one has been witness to the improbable -and yet realistic- birth of an unusual but deep love story between two common people. The story has a hidden intensity of screenplay which is intensely performed by Schoenaerts and Cotillard. It creeps beneath your skin. If you like Audiard's way of developing gradual character drama with an intensity that seems to be implicit, buried beneath trailer-trash but still strongly present, you'll like this film. It's a story of how one can find anew a purpose in life when one feels like wasted trash. I watched this film in a full theatre of some 300 people. At the end most everybody sat silent for some minutes. It seems the film had touched something inside quite some of us there. Film as it should be.