Paris, 1942. Lucas Steiner is a Jew and was compelled to leave the country. His wife Marion, an actress, directs the theater for him. She tries to keep the theater alive with a new play, and hires Bernard Granger for the leading role. But Lucas is actually hiding in the basement… A film about art and life. Continue reading
A loner (Johnson) drives into a small Texas town and gets himself a job at a used car dealership. He gets an idea for robbing a small local bank after he tries to open a new bank account at the same time a fire occurs nearby. The bank was left open while all of the employees went to fight the fire. The manipulative boss’ wife (Madsen) wishes to use him for her own purposes: “I always get what I want, Harry”. He resists, however, as he finds himself falling in love with the accountant (Connelly) at work, who has her own problem to work out. Continue reading
Greatest Films wrote:
A Place in the Sun (1951) is a powerful social drama and romance from director/producer George Stevens. The black and white film plays on the audience’s emotions, by involving and drawing them into complicity with the tragic resolution. Methodically, the film is stylistically dark, almost with film-noirish qualities, yet it has some of the most romantic and passionate sequences ever filmed – between the radiant debutante, 18 year-old Elizabeth Taylor (in her first adult role) and 29 year-old Montgomery Clift, who stars as a laboring wage slave. Continue reading
Montreal Mirror wrote:
People tend to be cynical and derisive towards romantic comedies. Personally, I’m a softie and seeing people fall in love on screen always touches me. Then again, I’m aware that most entries in the rom-com genre are derivative and idiotic. But once in a blue moon, you find one that’s surprisingly original and intelligent. Les Aimants is such a film.
After five years abroad, Julie (Isabelle Blais) comes back to Montreal and crashes with her sister Jeanne (Sylvie Moreau), a woman who lies as she breathes. Jeanne is engaged to Noël (David Savard), a workaholic who’s never home, so they communicate through messages they leave on the refrigerator. When Jeanne leaves for a week of adultery with theremin virtuoso Manu (Emmanuel Bilodeau), she asks Julie to cover up for her by responding to Noël’s fridge notes. But Julie decides to get “positive revenge” on her seemingly heartless sister by making the messages she leaves more romantic… Continue reading
Giovanna is a bookeeper in a company which packs chickens. She is married to a man who has a precarious job. First she starts being curious about a young man who lives in the block opposite hers, and then she falls in love with him. The relationship between the two becomes much stronger when she starts to find out more about him from an old man who bursts into their lives. The old man, obsessed with the memories of some things that happened n the long past autumn of 1943, has lost his memory and finds refuge in Giovanna.
“Facing Windows (La Finestra di fronte)” is like a very European and more sophisticated take on “The Notebook,” as it shifts between romantic and culinary past and present through the in-and-out consciousness of an elderly man. The “Rear Window” eroticism is just one element that accidentally brings together tangled, stymied lives swirling around lovely, exhausted, frustrated chef, wife and mother Giovanna Mezzogiorno, where each child, man, woman, friend and neighbor has separate priorities and fantasies that annoying real life interferes with, from the practical to the political. Continue reading
After breaking parole for self defensive manslaughter, Sailor Ripley and his girlfriend Lula Fortune head down the highway for sunny California. Lula’s mother sends out a private detective and a hitman after them. Sailor and Lula encounter an assortment of extremely bizarre “people” while discovering hidden secrets about one another. Full of lurid imagery and references to The Wizard of Oz. (Written by Jennifer Harrison)
If you are moved by the death of a parakeet at the beginning of The Elementary Particles (Elementarteilchen), you are in for a bumpy ride, as all of humanity as we know it will be wiped out by the film’s end in a brief written epilogue. Of course, those who have read the novel (Les particules élémentaires in its original French, Atomised in its UK version) saw this coming, but for those who are unfamiliar with Michel Houellebecq’s cult hit that explosively mixes sex, death and science to annihilate mankind – and blames the flower power generation for it in the process – this might come as something of a shock. Continue reading