Ayant autrefois vécu des amours ombrageuses, Bernard et Mathilde, par le plus pur des hasards, se trouvent être voisins. Même s'ils sont mariés tous deux, leurs destins se croisent à nouveau.
Sur un thème qui pourrait presque paraître anodin, François Truffaut nous offre un inoubliable moment de cinéma, une histoire d'amour admirablement mise en scène et construite avec une subtilité sans pareille. Dès la première minute on comprend que la narration va d'ailleurs être surprenante, et nous ne sommes en rien déçus.
C'est en définitive la passion dans son ensemble que Truffaut décrit magistralement ici, et cela de nouveau à travers l'histoire de Madame Jouve, qui vient compléter en beauté ce film qui ne manquait déjà de rien, qui plus est lorsque certaines scènes se font novatrices et étonnantes à bien des points de vue, qui plus est dans un récit qui aurait pu rester désespérément lisse.
A bright-eyed young actress travels to Hollywood, only to be ensnared in a dark conspiracy involving a woman who was nearly murdered, and now has amnesia because of a car crash. Eventually, both women are pulled into a psychotic illusion involving a dangerous blue box, a director named Adam Kesher, and the mysterious night club Silencio.
The structure is unconventional. Basically the first two hours play out as the dream of a very troubled young woman by the name of Diane Selwyn. In the final 30 minutes we are taken into Diane's reality. Mullholland Drive is a very disturbing portrait of the inner world of a woman about to commit suicide and we learn about her life and what led her to murder and suicide through the dream imagery of the first two hours.
I didn´t know Naomi Watts, she´s great. Her performance is believable despite whatever character she´s playing or situation she´s in.
Urban love story about people adrift and their convoluted journeys in the search for some kind of love.
When the desperately insecure and emotionally inarticulate John breaks up with Deirdre to 'give her a little test' his plan backfires leaving her broken-hearted and him alone and miserable. Through chance and coincidence, their break-up triggers a roller coaster ride of interweaving escapades in the lives of everyone around them.
Intermission presents a slice of life, the passage between breaking up and making up, exploring how our lives intersect, and the power we all possess to affect the lives of those around us.
This is a fascinating film that ingeniously weaves together a myriad of overlapping stories whose common thread is life among the Irish working class. The screenplay focuses on a group of seemingly unrelated people whose lives crisscross and intersect in so well crafted a way that, as the story develops, a fully connected narrative soon emerges. The film is filled with humor and sentiment and just enough action and violence to keep the whole thing contemporary and cutting edge.
Peggy Sue was one of the most popular girls in high school, enjoying life with her friends and her boyfriend Charlie. It was the typical high school dream, until she finds herself married to Charlie and becomming a young mother. However, her life takes a serious turn, leaving her depressed and facing divorce when Charlie runs off with another woman.
At her high school reunion, Peggy Sue faints and wakes up back in high school. Despite her confusion about what has happened and how to get back to her own time, Peggy realizes that she has a chance to start her life over, to avoid her depression and her marriage to Charlie. However, just because she knows the future, does that mean she can really avoid it?
Kathleen Turner is great in this movie, she more or less pulls off her task and is very believable as the teenager who gets to relive and, to some point, change and correct her past. Francis Ford Coppola knows exactly where to draw the fine line between heart warming and pathetic and does so with great artistic knowledge and taste. This movie is filled with memorable quotes and is altogether very funny.
Great performances from a pile of familiar faces, Nicholas Cage is irritating at first, but is likeable at the end. A great score, a great and heart warming story, solid acting, nostalgia, each time I watch it I enjoy a lot.
In tiny Anarene, Texas, in the lull between World War Two and the Korean Conflict, Sonny and Duane are best friends. Enduring that awkward period of life between boyhood and manhood, the two pass their time the best way they know how -- with the movie house, basketball, and girls. Jacey is Duane's steady, wanted by every boy in school, and she knows it. Her daddy is rich and her mom is good looking and loose. It's the general consensus that whoever wins Jacey's heart will be set for life.
But Anarene is dying a quiet death as folks head for the big cities to make their livings and raise their kids. The boys are torn between a future somewhere out there beyond the borders of town or making do with their inheritance of a run-down pool hall and a decrepit movie house -- the legacy of their friend and mentor, Sam the Lion. As high school graduation approaches, they learn some difficult lessons about love, loneliness, and jealousy. Then folks stop attending the second-run features at the movie house and the time comes for the last picture show. With the closure of the movie house, the boys feel that a stage of their lives is closing. They stand uneasily on the threshold of the rest of their lives.
This is a subtle, real portrait of confused teenagers, the hidden lives of a group of people, and a town dying, with everyone going to the city. Its influence on more recent movies, such as American Beauty and Ghost World, is quite obvious. It's ahead off its time, because it is brave enough to criticize society and to show us the lives of a group of people, just as they are, without sugar-coating them and not being afraid of making them sometimes unlikeable, just the way people are.
The screenplay is very good. The characters are realistic and well written, and their attitudes and actions are always where they should be. The pace is just right; it's a slow movie, but always entertaining and thought provoking. The dialogs are great, and they always have double meaning, so you really have to be focused on them to get to the core of their meaning. Besides, the end of the picture show, is, too, the end of an era, the death of a town.
The acting is truly amazing, by just everyone. A look, a movement, the accents, the timing and delivery are just brilliant. All the actors were perfectly cast. The direction is simple, focusing on the actors, but still brilliant. The ending, so full of meaning, Cybill Shepherd shots, the large shots, languid and beautiful, the close shots, emotional and touching and the use of light and dark. The black and white makes this nostalgic and beautiful. Overall, really impressive; ahead of its time, tackling important issues and technically impressive. It's a true classic.
Avril est une jeune novice élevée dans un couvent. Elle s'apprête à prononcer ses voeux perpétuels, lorsqu'on lui révèle l'existence d'un frère jumeau. Elle part à sa recherche et se retrouve en Camargue pour deux semaines de vacances avec trois garçons...
Un beau film, original, plein de poésie, touchant, et surtout bien servi par des comédiens inspirés.
Une plage, un hôtel, ses paillottes, ses cocotiers. Une bande de jeunes garçons qui échangent leurs charmes et leur tendresse contre quelques faveurs. Deux Américaines d'une cinquantaine d'années en mal de tendresse et de sexe et Legba, 18 ans tout au plus, beau comme un dieu, qu'elles viennent retrouver là chaque année et qui va bouleverser leur vie.
La solitude écorchée des personnages, une solitude propice aux failles et aux derapages lesquels entrainent des tourbillons qui entaillent à vif et profondément les psychologies et les trefonds de l'ame.
Charlotte Rampling est d'ailleurs remarquablement glaciale et vénéneuse dans le role d'une femme faussement sure d'elle qui regne en imperatrice au sein d'un hotel de luxe dans les Caraibes.
On pourrait croire au premier abord que L.Cantet choisit de nous délivrer une réflexion lucide sur le theme du tourisme sexuel. Mais il n'en est rien. C'est juste une toile ce fond à un scénario extremement bien écrit qui fait la part belle à une étude psychologique fouillée et passionnante servie par des acteurs impeccables.
L'autre qualité est cette maniere d'instaurer une atmosphere des plus moites. On glisse de plus en plus vers le Sud au fil du film, vers la lenteur,l a nonchalance, la chaleur, la sueur, la luisance des corps jusqu'à atteidre l'envenimement poisseux et brulant du récit. Il y a comme une inquietude, l'ombre d'un danger qui se tisse petit à petit alors que, pourtant, on baigne dans un cocon douillet, un Eden. Et c'est tout ce qui fait la force du film que de laisser entrevoir en filigrane ce qui, tout d'un coup, explosera violemment.
Un film complexe, et donc foisonnant, réussi et magnétique.
Un marchand d'art fait un pari : il a dix jours pour trouver un meilleur ami. Il se lance alors dans un casting fou pour finalement jeter son dévolu sur un chauffeur de taxi volubile et chaleureux. Il va le séduire pour gagner son pari. Mais peut-on tricher avec l'amitié ?
Film très sympa! Le duo Auteuil/Boon fonctionne à merveille. Un scénario à la fois banal et original quand même, avec des situations bien trouvées, à la fois drôles, et où l'on peut se reconnaître. Une comédie un peu trop pleine de bons sentiments, mais fraîche et divertissante, sans en faire trop, sans lourdeur dans l'humour. Un bon moment à passer, et aussi une réflexion sur son rapport aux autres.
A heated meeting of students and campus groupies discussing direct political action is attended by Mark (Mark Frechette) who openly declares his willingness to die for the cause while simultaneously alienating himself from the other young radicals. He and a roommate buy hand guns.
Later Mark, gun in boot, watches as a Los Angeles policeman is fatally shot by another protester who has been tear-gassed. Mark is seen on television and without apparent premeditation steals a small plane and flies into the desert where he encounters free-loving and tolerant hippie Daria (Daria Halprin).
Daria is unexpectedly driving to Phoenix to rendezvous with her boss/lover Lee Allen (Rod Taylor). Before she meets Mark she is looking for a specific, albeit non disclosed, place and person but instead encounters a group of young boys who taunt her with sexual cat calls and deviant provocations. After she escapes the boys she is spied from the air by Mark as she fills water for the car radiator. Mark proceeds to buzz her car at one point flying only three feet over Daria as she lies face down in the desert sand.
They eventually meet at the desert shack of an old prospector-type man and then the two new lovers wander the valley, philosophize and make love at Zabriskie Point as the unusual Zabriskie formations erupt in an orgy performed by The Open Theatre (Jerry Garcia of the Grateful Dead provided the music for this scene).
The couple then paint Mark's plane in psychedelic colors in preparation for him to return the plane and resume life in Los Angeles. Daria pleads with Mark to remain a fugitive, travel with her and forget about returning the plane. Mark, believing that he can return the plane and evade the law successfully, flies back to Los Angeles only to be killed on the runway by a policeman after landing.
Daria learns about Marks death on the car radio, drives to Phoenix to the lavish desert home of her boss where she grieves for Mark by leaning into a drenching waterfall. A brief encounter with the Mexican maid in the home crystallizes in Daria's mind the social inequalities Mark had apparently died for. Without hesitation or goodbyes Daria leaves. But as she is driving away she stops to look back and visualize the home exploding in slow motion to the screeching sounds of Pink Floyd. The explosion apparently represents her psychological separation from corporate greed, superficiality, and racial injustice.
