The scene is set one Summer in La Ciotat, a town near Marseille which used to be prosperous thanks to its huge dockyard but has been in decline since its closing 25 years before. It is in ... See full summary »
Leyla (42), a lawyer and a poet, takes the long-distance train to attend her high school reunion dinner. On the train, she meets Canan (21), a young nursing student in distress. As the ... See full summary »
In Northern Italy in 1983, seventeen year-old Elio begins a relationship with visiting Oliver, his father's research assistant, with whom he bonds over his emerging sexuality, their Jewish heritage, and the beguiling Italian landscape.
Gradually succumbing to dementia, George Laurent, the octogenarian patriarch of the Laurents, an affluent upper-bourgeois family, is uncomfortably sharing his palatial manor in Calais, the heart of the infamous migrant jungle, with his twice-married son, Thomas, and Anne, his workaholic daughter who has taken over the family construction business. Divorced and frigid, Anne has to handle the impact of a disastrous workplace accident caused by her disappointing son Pierre's negligence, while at the same time, the urgent hospitalisation of Thomas' ex-wife from a mysterious poisoning, leads his sulky 13-year-old daughter, Ève, to live with her father and his new wife, Anais. Undoubtedly, in this family, everyone has a skeleton in the closet, and as the fates of the Laurents enmesh with insistent and ignoble desires, a peculiar and disturbing alliance will form. But in the end, some secrets are bigger than others. Written by
Although Jean-Louis Trintignant has been retired since 2003, he only comes back to working on films if Michael Haneke is directing. He considers Haneke the greatest director alive and would act for him in any film (in both big and smalls roles). Michael Haneke also considers Trintignant one of his all time favorite actors (along side with Marlon Brando). See more »
The character of Frank has been entirely dubbed over for the original release, and in many scenes, it's painfully obvious. See more »
Not vintage Haneke I would say, but even on his B game, he's more interesting than most. You recognize the visual style instantly, as it features several of those long static shots, with key action taking place at the far extent of the frame. As for the story, it's an intelligent, multi-layered drama of family dysfunction that revisits many of Haneke's favourite themes: bourgeoise malaise, social inequality, surveillance and voyeurism (this time through the prism of social media, which he clearly wants to take a pop at), euthanasia, and communication breakdown. In fact, there's so many strands to this that the ideas feel a little bit under-explored and the overall effect is an intriguing sprawl - it keeps you hooked but it's a little unfocused. The intrigue is there because it's very stingy with exposition and expects the audience to do some work in joining all the dots. Unsurprisingly, there's no happy end.
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