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09 = Excellent
08 = Cult
07 = Very Pleasant
06 = Awkward (but quite good)
05 = Good (but does not stand out)
04 = Interesting (but failed)
03 = Predictable
02 = Disappointments
01 = Not worth at all
I have tried to remember all the films I had seen and decided to rate solely full lenght pictures.
It's to me a way of keeping track of what I had seen and liked along the years. IMDB is a fantastic tool , some sort of a maze of knowledge on cinema.
What I expect and try to retrieve when I watch a film is a moment of great emotion ("a moment of magic") and a great story. A film also has to be a travel into a specific epoch, a dive into a specific mood. I like being immersed in a unique atmosphere. The film has to represent a journey in itself, a journey I am pleased to take part of.
As a spectator, I expect impertinence in the content (something disturbing, out of common, that encourages the reflection), someting new in the form (on an oesthetics note or by offering new ways of telling stories), and accuracy or interesting insight on a political or historical aspects.
For all kind of movies (science fiction or realistic movies) the story must look genuine, I must believe it's true.
I am very demanding with the screenplay, the dialogs.
The final goal should be the emotion, and that is how I sensitivily rate a film. It goes from a 10 rate film which corresponds to a great emotion to absolutely none (1 rate film).
Here are the details of my "scale of ratings":
Feel free to send me a message on: firstname.lastname@example.org if you've got any comment to make (on my reviews, my ratings or about a film you'd recommend).
10 = Means masterpiece.
The emotion that would correspond to a 10 rate film would be an overwhelming emotion. You'll remain shaken and moved by the film after seeing it.
You'd think about the film during days or weeks without being able to erase it from your mind.
A 10 rate film is always a rare film that boarders perfection in its intention and its direction.
A 10 rate film is a true piece of art. It reflects an epoch, it has something to say, something new to bring.
A 10 rate film has "moments of magic", of great emotion and authenticity coming from either the screenplay, the dialogs or the oesthetics.
I believe that each 10 rate film of my list, for all these reasons can be seen and scrutinized dozens of times without bore.
09 = The 9 rate films are great films as well but with a little lack of magic.
They will bring you a lot (huge crush) and it will also take time to "digest" them.
They are films generally done by the rules. (a lot of classics enter in that list)
When they get the success expected, they are considered models of their type (horror film thriller, drama etc).
The 9 rate films often get prizes.
In general, you clearly differentiate the 9 rate films from the 10 rate ones because you may not want to re-watch them. It's more "a love at first sight" or a "one night stand kind of love" than a deep love towards the film. (the replay of these films often finish with a lower rate)
I have decided that films with low budgets (and some drawbacks) but with a huge energy will also enter in that list (it generally goes with a very striking style).
08 = The 8 rate films are the cult movies, kind of stylish in their own way.
All the cult movies or those considered as such (by me) are gathered in this list.
The 8 rated films are linked with a socking emotion which goes from bewilderement to scare or even from an extreme laugh (hilarious movies) to an extreme sadness.
They 8 rate films are more shocking, atypical or funny than related to some kind of a genius inspiration.
In this category there are the cult movies you like to quote from and the films that count for the history of cinema.
07 = The 7 rate films are very good films which lack originality.
You usually recommend those films without fearing an deception from your audience.
The 7 rate films are usually very well done (actors, screenplay, direction and picture). They are very pleasant to watch and have very few low points.
You're sure of the quality of the film but you may wonder whether the director really took a risk by making this film (you wonder if it wasn't too easy).
The 7 rate film may bring less emotions than other movies… They have some weaknesses at times, but the overal impression is very pleasant, and that is what remains.
06 = The 6 rate films are usually very awkward but quite good.
These films are rare and special, odd and freakish, maybe cult but one could argue with that . You prefer to remind they were mostly good with at least one special feature.
They are films that strike you, that you know you'll remember.
You appreciate the craziness of the film even if there are things amiss one could not avoid. Film that could be described as irregular. Will often need another viewing. (the replay is usually quite disappointing though)
05 = The 5 rate films are good films or rather good films.
They are films that definitely work out but that do not stand out of the crowd . They should not make any effect on you.
You would certainly qualify the films as "Rather Good" at the end, so they are entertaining and pleasant but no more. An emotion, something unusual, original or deep is clearly missing. You acknowledge the director has reached its goals, but you wish it made some effect on you.
04 = The 4 rate films are interesting but they kind of fail in their quest.
They usually are daring film (or with a clear intention and an orginal idea) but with clear weaknesses (ungenuine dialogs, a failed screenplay or amateur aspects).
The difference with a 5 rate film is that there is something clearly annoying about the film (the story or the way it's filmed) that takes the advantage on the overal impression. These films are either quite ambitious and they kind of fail in a clear way or on the contrary too modest, too realistic, with a good theme but no surprises at all in the screenplay.
03 = The 3 rate films are predictable from begining to end.
Usually not interesting . You can picture every scene before it happens.
It usually does not bring any emotion nor any surprise.
It's a film you would define as common, ordinary.
It's generally speaking a type of movie you can clearly identify (action movie, romance, comedy), and it's generally addressed to a mainstream audience.
Definitely not interesting in terms of art, nor in terms of content of course, thus, it requires no effort to watch it (that's something you might appreciate). Some of them could even be entertaining (at times only of course)
02 = The 2 rate is a tricky category. It's a mix of emotions which starts with some expectations and end up with disappointments. I used to call this category: "painfull to watch" list.
Will enter in this category the "lousy films", the failed blockbusters, and the very famous "auteurs films" which you did not understand. It will always be the director's fault that you will want to point at. Ungenuine dialogs, filming style really hard to put up with, ununderstandable story.
Most of the time they are films with an ambitious screenplay and casting (and most of the time an unreasonable budget) that turns out to be a fail. You understand the complexity or the sense that the director wanted to give to his story but you just don't believe it, or (worse) you just totally disagree with all the choices made by the director. Some films might bring you shame because it's lousy.
01 = This category is when you consider having lost your time. No art. No entertainment. No acting. No screenplay. No direction. Nothing.
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This list tries to set right injustice by sheding light to these "treasures" left aside for some time even if they are true rare pieces of art - forgotten from the mainstream audience.
The ranking chosen was made comparing how unknown the film was (and how good it is).
Generally speaking, most of films in this list border perfection with style (so esthetically speaking they are really amazing)
Crushes and emotions guaranteed though with this list!
Adieu les cons (2020)
Another inventive and meaningful goodbye by Dupontel
Goodbyes are meaningful with Albert Dupontel. After "Au-Revoir Là-Haut" (See You Up There) (2017), "Adieu les Cons" (Bye Bye Morons) (2020) is another farewell full of sense that Dupontel delivers with poetry, humour and a rebel spirit.
Bye Bye Morons takes place nowadays in France, a country he describes as crippled by its heavy bureaucracy, drowned in a consumer society that promotes individualism as a great value. Don't be mistaken. The film is in fact way less agitator than his first movies. I would call it a feelgood movie about people in need having their revenge on what the society imposes on them. It's trivial enough to entertain without needing to be too focused and at the same time, clever and inventive enough to catch all our attention and get the message behind it .
Albert Dupontel, the director, is a former stand-up comedian (who used to play outsiders of the society who did not adapt to the consumer society and who were ready to blow up the place for it), he's also a long time punk and anarchist sympathizer (it might help to understand the screenplay and the end of the movie) and now, he is an internationally recognized director (after his previous film See You Up There who was unquestionably a must see film of 2017). This film is a continuity with what he has always done, another farewell of his own to criticize our material society, individualism and the state repression of the most needing people. Beyond the story that is rather classical (a death diagnosized woman who wants to make a last good action before she dies ), what is joyful in this film is the constant humour Albert Dupontel resorts to, the hints to our perverted society and a colorful poetry that he disseminates throughout the film . One will recognize the nods to the recent police violence in France, to our over connected habits, our deshumanization in several places of our society . In this film, Dupontel shows a great sense of drama, with camera effects that serve the sense he wants to give , with a thin skinned sensitivity. All this sensitivity aspect would not have been possible without the amazing in-put of Virginie Effira, the "in fashion actress" of the French cinema over the last 5 years. Her work is once again remarkable in this movie. I believe the film would have lost part of his credits without her. However, to me, the main features of every Dupontel's film are his camera and graphics inventions. I guess the best example would be what he resorts to show the dehumanization of the administration, with the never ending spiral staircase as a representation of the vicious circle in which the characters find themselves and the never ending process that is required in a state administration. Another example is the rotating camera on several portraits of important managers at several levels of the administration to show how resortless are the characters of the movie. The reflection over the time passing by and the changes on the landscape in modern cities will certainly speak to many of us too. It is to me, this kind of details, all the camera effects and the graphics inventions that allow him to turn a rather classical story into a moving portrait of our individual consumer society. In that sense, this film is a success . I am more skeptical about the end of the movie (very foreseeable) and the photography of the film which has something to do with Amelie Poulain but which did not make that much effect on me. The red light through the film looks unreal, almost cheesy. Despite these little drawbacks, the film has the merit of bringing you into a special mood, a very Dupontel's atmosphere in which the two main characters (or the three, with the blind person who has got the funny part) kind of float over this colorful society that does not have time nor space for them. Bye Bye Morons has it all in its title, it is indeed a very good movie, well thought, done with creative effects and for this we hope it was just a good-bye and not an "adieu" from Dupontel who looks like he's got a lot to say left.
Mektoub, My Love: Canto Uno (2017)
Khechiche's awakening of desire
I am surprised with the marks given by Imdb's users. Three years after seeing this film I still think about it, its music, its caracters, its mood accompany me.
Mektoub My Love is a great movie, maybe not a masterpiece you would re-watch on an on but it's a great film, with a proper mood and a sensitive artistic touch. Among other things, it features a great sensuality and some brilliant actors (most of them are beginners and turn out to be really good especially Ophelie Bau who delivers a promising performance).
Abdellatif Khechiche has this capacity to take the best out of his actors, he is also capable of captivating and bewitching his audience in a multi sensory journey. Khechiche does not make entertainment, it's not an action movie you should be looking for, it's a travel into his adolescence in the South of France, an ode to the youth, the non-endind summer and the awakening of desire.
I think this film, a bit like "La graine et le mulet" which also took place in Sète (France), is very personal for the director. In fact, the heroe, Amin, looks like Abdelatif Khechiche himself (a young French man with arab origins who studies cinema...), the seaside resort he depicts really exists and you can't help thinking he's put some of his personal affairs in this story.
What is interesting in Khechiche's cinema is how he shows the awakening of desire and the aesthetics chosen. I believe critics define it as naturalist cinema, a cinema that focuses on the flesh, the bodies, the lips sometimes even the driblle with an unmissable focus on the curves of women ; it's a cinema with a strong eroticization of the body but it's also a cinema that requires time, some scenes can be very long and Khechiche does it on purpose to insist on the desire felt, the games of seduction or to insist on the lenght of the night. Mektoub my love is a brilliant example of what Khechiche does best in that sense.
Along with all that, the film features a social accuracy that gives a true insight to the film. It's not only about the birth of desire at the age of 20, it's also about a certain category of youth and summer loves. His cinema is always very realistic, you can feel the mood of a seaside resort, you understand its youth, its seduction games and you feel so comfortable that you would appreciate being part of the film actually.
Like in "La vie d'Adèle", Khechiche goes very far into the eroticization of the bodies and the scenes at the beach (so beautiful...all of them), in the night club (slightly long I admitt) and the never ending approches between young adults reflect so well his cinema and the theme chosen : the birth of desire and sexuality at a young age.
If you take your time (I think it's the key) and let you drift by Khechiche's poetry, you will certainly fall in love and enjoy being young (again) for the length of the movie.
Les misérables (2019)
Warning cry for French suburbs
This movie deserves a round of applause for tackling such a big issue as the misery, social and ethnical diversity in treacherous suburbs of France. The fact he does that with a refine style and a cautious but reasonable neutrality makes this film even greater. So what is it all about ?
The story focuses on Stéphane, a cop who recently joined an anti-crime brigade of a town next to Paris called Montfermeil. He then quickly discovers the tensions between the different ethnical and social groups of the neighbourhood . He also discovers the curious methods of his team mates that he disapproves in the first place. During an arrest, one of them gets overwhelmed by the events and made a terrible blunder but a drone has filmed all the scene - they must find that drone at all cost.
Beyond the police blunder, it's a denonciation of several misconducts in those areas and the complete state of neglect that all suffer from that is tackled in this film.
The movie is in fact a real whistle blower of a latent conflict. A bit of a bolt out of the blue for those who were still dreaming of a pacified country.
Don't get it wrong. The film does not call for civil war. It's just a depiction of what happens every day in some cities of France. The Victor Hugo's reference is just a wink, a little tribute as Monfermeil (the city where the story takes place) is also where the Thenardier family in Les Misérables (the book) used to live. In fact the movie is more about what the word "Les Misérables"' means than about the story of the book. The film focuses on the miserable people living, working (the cops of course), growing (the kids) in Montfermeil's kind of city (les banlieues) , their interractions and conflicts in those abandoned lands of the French republic. The director wanted to send a message to the authorities and make them realize what are the feelings of the people living there who had been left in the lurch after so many political promises and this for so many years.
The fact that the director tackles this issue through the policemen' eyes is daring and intelligent since we quickly realize that the policemen are part of these miserable people as well. Then starts on a vicious circle which leads to the final phrase of Victor Hugo himself: there is no bad seeds, or bad men but just bad growers.
In terms of rythm, intensity and style the film is a great success . You never loose the tension, you never want to take sides but you want to know where and how it will end up even if you presume it will end up badly. The amateur actors and profesional actors are all of them very genuine especially the bad and the good cop. The scene of the conflict between the gypsies and the kids of the neighborhood was quite of a shock, and the plot in general is gripping from the beginning to the end.
I highly recommend it.
La douleur (2017)
Very emotional movie, doomed to fail on paper but beautifully interpreted and directed
On paper, this film is condemned and doomed to failure. A story about a writer (Marguerite Duras) and her internal dialogs about the waiting of her husband's return (member of the French resistance) could only be seen as something rather repellent. However, the fact that Emmanuel Finkiel delivers a heartbreaking film about this waiting is in itself astonishing and makes this film valuable, rare and beautiful for sure among the must see films' list of 2017.
So how come did Emmanuel Finkiel end up with such a good movie ? Well there are several ingridients of course , but one of the secrets leans on the fantastic actors the film features and the way the characters were written: Melanie Thierry as Marguerite Duras of course, way above all the rest, so unsettling and seductive, torned apart and brave, but also, quite surprinsgly Benoit Magimel (recently so deep and good actor in recent years) with a deep twisted role of a cop you never end up to decipher completely. All this is accompanied by a beautiful and genuine reconstruction of the ocuppied Paris back in the early forties and the creative camera inventions the director resorted to during the film actually allow to maintain the supense you would not have expected from such a movie by revealing little by little the diferent feelings Marguerite Duras (the writer) came through (specially her twisted feeling towards her lover and the husband she must wait). Thanks to all this we can comprehend the unexpected turns of the historical events through the eyes of a "resistante" (Marguerite Duras), we live the waiting, the environment, the mood o the people in the ocuppied Paris, the suffering of the people, the watershed of history when the fear suddenly changed sides, the political commitment that some people decided to have and the one that others decided to avoid at all cost, all this is perfectly pictured, illustrated, narrated described and depicted with a true authenticity that never bore us despite the theme of the film.
Melanie Thierry once again is just amazing (quite unfair not to give her the Cesar award for that utterringly good performance), we suffer with her, and never abandon her pain (the real title in French means pain). A great adaptation on screen and a very emotional moment . I recommend !
In honnour of the ideal of rock
Leto is to me the best film of 2018 as its direction is so original, unique and magnificient. The story is rather simple. A confirmed rock star of the early eighties (Mayk) struggles to promote rock music in the declining Sovietic Union when another musician (Viktor Tsoi) arises as a new promising talent. His wife, Natalia can't help to be attracted to this new talent...and so does he.
This film almost has it all. It features fantastic actors, an interesting story (who would not like to know what was being a rock star in the Soviet Union in the 80's ?), a great soundtrack, and some developments in the film you do not expect. I would definitely take on the direction of this film as its main feature, as Serebrennikov films so well, invents moments of magic, and has so much inventions that you can feel the soul of rock. Quite early in the film, you understand the movie is not just all about following the emergence of Viktor Tsoi the Kurt Cobain of Russia (or the Jim Morisson of Russia back in those days), but also about giving pride of place to the ideal of rock. Serebrennikov pays tribute to what rock and roll meant for his generation, what it inspired and what it felt to listen to this music in this oppressive atmosphere of Russia in the 80's. I believe that many many directors tried this before him, but Serebrennikov may be the only one to have succeeded in this initiative of linking music to political protest. The long take at the beach and several musica clips are simply fantastic ! For this and for his fantastic direction, the film has already become a must-see film to me.
Une vie violente (2017)
Unique film about political commitment, and the independentists of Corsica
Despite being threatened to death, Stéphane decides to come back to Corsica and attend his friend's and fellow fighter's funeral. Why is he sentenced to death ? How can a nice fellow, bourgeois of Bastia end up to be threatened by the mafia ? What was his journey, from a vague interest in independentist theories to political radicalism ? Thierry de Peretti the director, native from Corsica, tries to give an explanation, and delivers a subtle description of Coriscans, independentists and others, old fighters of the 70's and the new generation of 90's, full or realism and rythm.
It brings out a very intersting story of a youngster (Stéphane) of the 90's, slightly lost, and slightly rebel at his age, craving to have a cause to live and to stand up for, who ends up militating for an alternative independentism whose values seem to be nobler than the old independentism.
A descent into the depths of militancy, enlistment and fanatism, full of realism, simplicity. A modern tale of our youth craving for ideology - a really good surprise !
Que Dios nos perdone (2016)
May god forgive us... We find it wonderful !
Que Dios nos perdone could be described as a classic, or even a filthy thriller but it is in fact a film directed in a superb manner. What is this all about ? Well at first, you've got a very unlikely pair of work, Alfaro (charismatic, self-confident, seducer but violent) and Velarde (starmmerer, quiet and witty), the two detective inspectors who are in charge of the investigation. Both under pressure at work and urged to prove their qualities in the Spanish police, the detectives will need to overcome their faults to resolve this investigation with the utmost discretion. From then on, a thrilling race against time and serial rape crimes starts with the eternal doubt whether the policemen they are, are that different (or not) to the murderer of these old women. To me, and above all, the film features a rare description of its characters, of the mood of Madrid during this summer 2011. You feel the heat, the smells of bodies and of the corpses(!) the tension at work, in the society, the hatred against and amongst policemen . It has all the ingredients that are needed in such a film: the crimes are definitely filthy, the detective inspectors are weirdos in their own way which make them plausible suspects, the rythm is relentless. You end up suspecting everyone, and you crave for someone to arrest the murderer. A very gripping film, with a fantastic direction. Most likely, the best or one of the best of 2016 so far.
Post-card of himself
Julieta is definitely not the best, but for sure not the worst of Almodovar either. It's a good story, with very good actors, good characters but the scenes Almodovar put all together are stereotypes of his own cinema and his own world. It's a bit like Tarantino who exaggerates what he does (or did) the best. Is it because he gets older and older ? Is it because he lacks inspiration ? I loved his cinema, I don't want to lash out at him but this film is not enough to resuscitate Almodovar's genius. Almodovar masters the dramatic art, the seriousness of scenes, the desire on screen but he mainly made a postcard of his own, a postcard of his own world. The salad bowl is beautiful, full of fresh vegetables and Spanish specialties, the house on the North coast features an outstanding view over the sea, the Spanish village in the south is authentic and calm, the kitchen's wall paper reminds the eighties but it is mainly "beautifully cheesy". It requires no effort to watch it, you can let you drive by his eternal love towards Madrid, the women, the Spanish country side, sexual desires and you can lie to yourself saying it's agreat one... it may work for some time and you'll have a good moment. The end of the film is just a non-ending story... and we (his fans) will wait for the next one.
Mon roi (2015)
How far can we go for love ?
Tony (Emmanuelle Bercot) tries desperately to recall the tempestuous relationship she had with Giorgio (Vincent Cassel). Why did they fall in love? Were they both in love or was it just her ? Who was Giorgio for real ? Was he himself at every moment or was he manipulating her ? How could she be so blind and how could she let this passion submit herself that much and that far into a circle of destruction ?
The controversial French director, Maïwenn, ex wife of Luc Besson has now proved (if she ever had to) she has reached maturity and mastery in every aspect of directing a movie from filming and directing actors to writing dialogs and a subtle scenario. The performances of the actors are just astonishing. Vincent Cassel seems he is like himself, smooth talker and bold, Emmanuelle Bercot gives it all showing restraint with huge pain,just like her character who cannot believe she has to go through that much but who needs to cope with every single situation. Anchored in reality, the cinema of Maiwen confirms it is based on genuine dialogs and a rough reality.
What is new and different from her other movies, it's that this time she tackles a very common theme: Love, passion, maybe with something less personal, but still with her rough way always at the limit of physical violence. Fortunately, there are light-full moments that make this drama pleasant to watch.
I was really surprised because I was not sure I liked the cinema of Maiwenn. I would even dare to say that this movie is not far from perfect (except the first scene with the psychologist that sounds so fake ! What a pity!). The strength of the film lies in its ability to hold the attention all the way through. It's indeed a breathless and thrilling experience to watch this film, because you expect the situation to worsen even more, you expect the character to realize what she is going though, you expect the director to make this passion a nightmare but she does not.
The film features an astonishing performance from the two actors (the actress received the prize for her performance in Cannes). It features as well intense moments of emotion interrupted from time to time with light-full and hilarious moments, especially thanks to the character of the brother. I would spot this as something new in Maiwenn's cinema, because she was not used to allowing us to take our breath... Very well done Maïwenn this time, can't wait to see the next one !
Tian zhu ding (2013)
Do not focus on the rate. The film is worth watching even if it could have been much better and some of the details in the scenario are clearly a fail beginning with the lack of coherence of the characters. In clear, it's hard to follow them and to understand them. A Touch of Sin turns out to be a hell of a lot of sins, of violence, of crimes and of desperation. During the film I hesitated between skepticism, bewilders or admiration for this rough and tough portrait of China through different stories that are not necessarily linked together. A touch of sin is about four characters in four different regions in China who are going through hard times, because of globalization, corruption or a closed system. All these things will lead them to crime, suicide and the metaphor of the collapse of the system. It is always better to make a critic out of a movie you have fancied but not all of it is to throw away, and I would recommend to watch that movie for its originality and the ambitious scenario of the director. In short it was a great project and maybe some mistakes could have been avoided, but in the end it's indeed an interesting director to follow in the upcoming years.
Nos jours heureux (2006)
Nos Jours Heureux is definitely worth to watch. It has a lot of rhythm, authenticity and a lot of good and now very famous actors in France (despite what some of us wrote here). I would even dare to say it will become a cult movie. Several reasons for that: it's a comedy with famous phrases that will stick in your head, it appeals to everyone's childhood and the summer camp we used to attend to, the eccentricity and the authenticity of the characters allow them to have hilarious freak-outs that for sure you will remember. The movie describes perfectly the mood of such places. Anyone that has attended a summer camp like that would recall a camp counselor, a child or a chef De cuisine and for sure one or several of them who would have have been freak, violent, lady killer or simply misplaced and inappropriate. This film sums up it all. The stupid activities, the dishonesty of adults, the freak-outs, kids' tricks, adults' obsession for sex and maybe a subtle analysis of what is in an early-thirty year old adult's mind at a watershed of his history in life. I found that last thing very subtle and very interesting in addition to all the laughters it provided. Enjoy !
La squale (2000)
Denunciation of gang rapes
I like this film because it's a true, genuine and realistic denunciation of gang rapes. When it was shot, the phenomena was not clearly known, and most of the people did not know these kind of acts could happen in certain neighborhoods. Recently in France (in October 2012), some gang rapers were sentenced to one year jail (only) for these kind of acts. The scandal is not finished yet but this film deserves credit for making light on an awful, misogynous practice in french treacherous suburbs. The actors are inhabitants of these kind of neighborhoods and they talk the same way these people are used to talking. In that sense it's a genuine reproduction of reality.
Before Night Falls (2000)
Ambitious casting turns to be pointless
As many here, I am a big fan of Javier Bardem's acting. As many here, I was sadly frustrated by the lack of dialogs in the movie. As a matter of fact, I think Javier Bardem is not as good as he is used to be because of that. Indeed, the film has mainly a sad tone, and is made with good narrator's comment but scenes of repression are not well contextualized I reckon. For instance, many times a repression takes place after some homosexual community organizes a gathering; but even then, we don't understand how, when nor with whom the party has ever taken place nor why the police got informed. Excluiding the details, I think the movie is quite a bad biography. It does not show enough of Reinaldo Arena's achievements, as it does not show how the revolution transformed itself in a huge machine of repression. Everything is suffered by the characters without any organized dialogs nor helpful situation for us. How can we, viewers, understand the changes? For instance, I didn't get a thing when Reinaldo eventually succeed in going out from jail. How come? Why? How can he recover that fast after that? Another drawback is probably the language chosen. Come on, why should the actors speak English in Cuba ? I always find ridiculous and pointless to match a cultural or historical event with another language that the one originally spoken. What about talking about American civil war with French actors in French or Spanish? That would be pointless don't you think ? Why did he chose English-American, French, Italian and Spanish actors when many Cuban excellent actors exist. At the very least, he could have picked up some Spanish actors (like Bardem)who would have imitated Cuban accent but even like that that would have been pathetic. That's too bad cause I would have loved to know a bit more about this artist.The film is somehow disappointing even if it draw my attention and caught my eye from time to time.
Mes meilleurs copains (1989)
The last worth tribute to our imperfect 1968's generation
With "Les Babas-Cool" and the master-piece: "Les Valseuses", let's say "Mes Meilleurs Copains" remains the last very good cult movie about the controversial 1968 generation.
So what happens really?
Five middle age musicians meet their first love during a concert in Paris(a famous Québecois singer called Bernadette Legranbois) and decide to spend the week-end together. There,each one tries to deal with their own problems, about the past and the present, doing the last bereavement of the 1968 period to go and get further in their lives.The numerous flash-backs remind us how silly, ridiculous and hypocritical they were and they have always been. The characters are at the same time funny and ridiculous. The development of the story show us how they have changed their own idea about themselves, about life and how they have evolved towards old bourgeois kind of people. What is really joyful in this movie is not only the dialogs and the acting which are not far from perfect but to see all the 1968 people's portrait of nowadays in French society: You've got the frustrated artist(Philippe Khorsand as Antoine Joubert, definitely the best character in that movie!),still very much convinced crazily jealous,self-centered and amazingly deaf to what his friends say to him. You've got the irresponsible hippie (Jean-Pierre Daroussin as Dany), who has not changed anything from what he was when he was young,an idealistic freak, who makes love in front of his child and lives off his friend.You've got a frustrated homosexual who has not clearly gone out of the closet, who makes sport all the time to calm down his frustration and the lack of sex he's been supporting all the time since 1968(Jean-Pierre Bacri as Guido). And at last, you've got the right-wing "bourgeois" who changed his mind radicaly about society and ideologies and who tries to convince himself he's done the right choice choosing the "family way of life" (Gerard Lanvin as Richard). Christian Clavier (Jean-Michel) is the narrator "bourgeois" but more intellectual, who tries to give weight and credibility to his change of mind. He tries to remain cool, to convince himself he's overcome his first love deception with the Canadian singer in the 1970's by writing a book! I tell you, the film's characters are so pathetic you laugh all the time and you'll figure quite well the portrait of french middle class society who could have emerged during these decades, the very same generation who has tried to deal with the bereavement of their "ideological years". Simply hilarious !!!
Eu Tu Eles (2000)
Funny, typical, joyful.
"Eu, Tu, Eles" is this kind of "freaky movie" which put on stage weird characters, with weird habits in a weird place. The story takes place in the Brazilian country side, in the middle of nowhere except plantations field. A beautiful girl raises her children in an mournful atmosphere. One day a young guy comes to work in the plantations and her little family is going to grow suddenly. Who is she with? The old one, the young one? The scenes are so absurd sometimes it makes you laugh, and it's deeply joyful to be confronted to absurdity sometimes. Anyway, it shows nice landscapes of Brazil with a lot of humor despite misery and difficult conditions. Besides the film didn't have a lot of money to be made. It worths its rate and its success in Brazil and elsewhere.
Au coeur du mensonge (1999)
A profound analysis about lie and jealousy
French movies are used to investigating human thoughts, behaviors. Chabrol makes it perfectly. As you might know, he is a typical French director, sometimes boring but specially relevant and with accurate analysis in this film. The feeling of jealousy and suspicion is perfectly depicted, Jacques Gamblin as a tortured painter is, as always, amazing and touching. The well known humorist for his Euro Trash show, Antoine De Caunes, is scheming and surprisingly good enough. It's true that Sandrine Bonnaire and Valeria Tedeschi are kind of insipid and correspond to the cold French woman stereotype I hate. Anyway, the film is perfectly directed and gives us some clues about the birth of jealousy.