Rendező:
Jalil LespertOperatőr:
Josée DeshaiesZeneszerző:
David MoreauSzereplők:
Benoît Magimel, Isabelle Carré, Antoine Duléry, Ramzy Bedia, Bouli Lanners, Audrey Tautou, Mélanie Leray, Azzedine Bouabba, Daniel Duval (több)Tartalmak(1)
Ever since his wife Sarah (Audrey Tautou) disappeared without a trace, Paul (Benoit Magimel) has been living alone with his two young children. But a year has gone by, a year in which he has had to reinvent himself a new every day – and Paul is exhausted. Today, Paul hopes for a new start by returning to his roots; he moves back to his home town, Saint Malo. But who, in fact, is Paul? A father who, to save the world in his children's eyes, must continually struggle with his own anxiety and thwart, ever so tenderly, the impending threats on their lives. (AZ Films)
(több)Recenziók (3)
The theme here is crying out to be one, but this is no ordinary emotionally blackmailing family soppy movie about a father finding the tear-filled way to his cute little kids. On the contrary, most of the time he’s having trouble handling itself. And they skip the first year following the sudden disappearance and so we miss the phase of mournful tears. However, a year later those around you expect that you pull yourself together, start being a good father, move on, stop wallowing in sorrow and they no longer tolerate explosions of grief and self-recrimination. What else is left but to try for a new beginning? Some of the storylines just seem to peter out and mainly the middle part is a little long-winded, but at the same time it seems all the while that this is how it probably happened. And although (or because) it looks all cold and inapproachable, at the end we witness one of the most moving scenes of recent times.
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The concept freezes, the performances of the pair of offspring captivate, but the result must inevitably disappoint me. Every significant situation is terribly desired, and in the face of a civilian approach, there are uninterrupted shots of "pure happiness" and "clear sadness" disgracefully pseudo-pathetic. In the story, which only moves forward through occasional twists and jumps, both the good topic and the charisma of the unreadable Benoît Magimel go to waste.
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A pleasant - in terms of the style in which it was shot - film about how a family copes with the departure of the mother. Or are things a little different? At the end, we reach resolution, which is definitely positive. The movie did feel a bit sluggish at times and slightly uninspired in where to take the story during the quieter moments.
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