In their blue hotel room, a clandestine couple of two married lovers plan an impossible future, as death shutters their already frail tranquillity. Now, the noose tightens more and more around innocents and sinners; but, was there a crime?
Jacques Laurent made pornographic films in the 1970s and '80s, but had put that aside for 20 years. His artistic ideas, born of the '60s counter-culture, had elevated the entire genre. ... See full summary »
Summer, 2016. In Poland, the right-wing conservative party PIS has been in power for about a year. Matriarch Danuta is devising a programme for her golden wedding anniversary and has ... See full summary »
Agnes, a teacher from the Hessian province, comes to Berlin. She is supposed to identify a dead girl because she could be Lydia, her daughter who had left home. She is not Lydia, but Agnes ... See full summary »
Laura's personal life consists of one affair after another. She meets Arturo and the pair enter into an intense, violent sexual relationship. As days go by, Laura crosses out the days on a calendar, revealing her secret past to her lover.
Mónica Del Carmen,
Gustavo Sánchez Parra,
"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drifting with no direction except... See full summary »
Robin A Townsend
A man and a woman, secretly in love, alone in a room. They desire each other, want each other, and even bite each other. In the afterglow, they share a few sweet nothings. At least the man seemed to believe they were nothing. Now under investigation by the police and the courts, what is he accused of?Written by
Cannes Film Festival
Slow moving (although only 76 minutes long), starting in the middle of confusion and sexual passion, and only very gradually revealing exactly what the central mystery being examined even is. All we know is that middle-class Julien (expertly played by director Amalric) and sexy, cold and intense Esther (the excellent Stephanie Cleau) have tremendous sexual chemistry, if not much real emotion between them. They are both married to other people, and we soon learn something awful has happened that has caused Julien to be under intense questioning by the police. All the other details are only revealed bit by bit as the story jumps around through a fractured time-scape.
Amalric uses the camera to underline and echo elements of the tricky construction, using odd, disquieting close ups that give us only a bit of the big picture, or pulling back to beautifully framed but distant feeling wider shots that give us the geography, but don't let us inside. The performances too – both by the leads and all the supporting characters – also serve the style. They're all dense and meticulously detailed, but it's up to us to figure out what those subtle details of behavior mean. Is that glance a look of love? Desire? Contempt? Does Julien's lawyer believe him? Does Julien's wife suspect or not?
If ultimately this adaptation of a Georges Simenon piece isn't quite as powerful as it's opening leads one to hope, it's still a smart, chilling and impressive directorial effort for Amalric.
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