Je suis dans le ciel! That’s right. I Am In Heaven at The Alliance Française French Film Festival ...
Tu Veux ou Tu Veux Pas
Gloriously stylish romp com Tu Veux ou Tu Veux Pas / Sex, Love and Therapy. Great date movie!
Lambert (Patrick Bruel) is an ex-pilot and a recovering sex addict, attending group therapy in the back room of a Parisian launderette and channelling his recovery, resolutely and quietly, into his career as a couple’s therapist.
Judith has just been fired from her sales job in Singapore after attending to one too many of (most of her) clients’ needs, and has returned to France, via the Charles de Gaulle arrivals hall where she is swept away in a sea of naked men. Yes, Judith is a nymphomaniac.
And so ensues a very sexy and funny-as-heck tale of the hunter and the hunted. Bravo!!
It’s super quirky and so cleverly restrained – an inch or two more (yes, Lambert is asked to check a client’s penis size) and it could topple over into the English seaside, but director Tonie Marshall keeps it beautifully slick and chic (she co-wrote too).
The opening title graphics are just as slick and marvellous – all tongue-in-cheek cookie pop art eighties. For the life of me I can’t find out who created them (like all silent, faceless warriors of great cover art). No one mentions the opening title design. Ever. But they say so much when they’re done so well!! The mother of all moving typography. I geddit. Saul Bass would be proud.
The opening title graphics are just as slick and marvellous – all tongue-in-cheek cookie pop art eighties. For the life of me I can’t find out who created them (like all silent, faceless warriors of great cover art). No one mentions the opening title design. Ever. But they say so much when they’re done so well!! The mother of all moving typography. I geddit. Saul Bass would be proud.
And extra super stars for showing a woman in all of her fullest of glories, embracing her sexuality without shame or self-reproach.
I’m not sure this could ever have been made in Hollywood but more importantly it would definitely pass the Bechdel test. Viva la difference!!!
I’m not sure this could ever have been made in Hollywood but more importantly it would definitely pass the Bechdel test. Viva la difference!!!
Bon rétablissement!
Bon rétablissement! / Get Well Soon! A perfect rainy Sunday afternoon movie.
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| https://www.youtube.com/watch?v=9D8urn_2s_8 |
We spend the rest of the film forgiving him his bed-bound cantankerousness, as he gradually opens up to the nurses, patients, friends and family who visit him. He finds compassion and empathy in his broken bones, despite Phillippe Rebbot’s hilarious brutality as le kinésithérapeute. Eventually Maëva (a rambunctious and sparkling 14-year-old from the next floor up) is allowed to use Pierre’s laptop to update Facebook, even though she’s been doing it surreptitiously for most of the movie, and in this smallest of gestures we see him starting to reconnect with his life in the most charming and endearing way. And yes, there is a cat.
La Chambre Bleue
It’s hard enough, even in the most crucial of moments,
to remember what happened on any given day - nevermind the raw, accurate detail - so imagine the scale of that undertaking when the past is built around a winding labyrinth of endless and dark half-truths. Add to that rampant narcissism and a very healthy dash of male ego. How lost we would feel trying to pinpoint
anything certain or real …
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| https://www.youtube.com/watch?v=Dla8N6vY93Q |
And so we meet Julien, played by Mathieu
Amalric, whom you’ll recognise most readily as the baddie in Quantum of Solace. Ostensibly Julien has
everything: successful career, beautiful wife, child, gorgeous home, a
wonderful life in a beautiful French country town, holidays on the coast … oh, and Esther, the local pharmacist and his mistress (played by Amalric’s real-life partner and co-writer Stephanie Cléau).
Julien does not want for anything but we soon learn how little he really has. Every aspect of his life is manufactured,
so much so that he can’t remember what’s real and what’s not. As he tries to
reconstruct the truth of his life, in the most critical of times, particularly the facts of his affair and what it ultimately leads to,
a fog beds in, and we don’t know which way is up.
Julien's bitten and bloodied lip, initially a symbol of passion, becomes increasingly stark, dark and poignant against the backdrop of Julien's flashbacks and the
clinical persistence and hammering of a psychologist determined to piece together the truth.
We know Julien and Esther’s stories will be
inextricably woven together forever, at least answering one of Esther’s earliest and
most fateful questions with some sort of resolution, but aside from that we’re
never really sure. La Chambre Bleu is
the most compelling of psycho-thrillers because Amalric never lays out the answers for us, and there is never a tidy conclusion. Don't expect to drift off easily to supper afterwards or think about much else for a wee while.



