Nora is a 35-year-old art gallery director and single mother struggling to rise above tragic circumstances—a late husband, a failed second marriage and a lover’s suicide—through her successful career and a marriage to a wealthy businessman. Ismael, her ex-husband, is a disheveled, neurotic musician who descends into a comic nightmare when he is mistakenly committed to a mental hospital. He faces off against the steely clinic psychiatrist, but his eccentric antics—including an in-house pharmacy raid with his drug-addicted lawyer—earn a ten-day stay that may leave him worse off than when he entered. On discovering that her father is terminally ill and fearing for the future of her young son, Nora tracks down Ismael at the institution to enlist his help. A series of intimate revelations and reversals further connects these disparate lives, offering several enigmas, as well as a rich examination of love, memory, mental health, and family responsibility. –Inbaseline
Arnaud Desplechin is the son of Robert and Mado Desplechin, and grew up in the Nord department. He has a brother named Fabrice who has acted in several of his films, and two sisters: novelist Marie Desplechin and screenwriter Raphaëlle Desplechin.
Arnaud Desplechin studied film directing at the University of Paris III: Sorbonne Nouvelle, graduating in 1984. He made three short films inpsired by the work of the Belgian novelist Jean Ray, and became a great admirer of the films of Alain Resnais. During the late 1980s, Desplechin worked as a director of photography on several films.
In 1990, Desplechin directed La Vie des morts, starring several actors who would go on to appear in multiple Desplechin films, such as Marianne Dénicourt, Emmanuelle Devos, Emmanuel Salinger and Thibault de Montalembert. The 54-minute-long film won the Jean Vigo Prize for Short Films, and was shown at the Cannes Film Festival.
Desplechin’s first feature-length movie, La Sentinelle, premiered… read more
Any other filmmaker use both hip hop and classical in his soundtrack? Other things I rate highly: *dialogue wallowing in things we usually don't dare say- the way the characters air out their laundry for the world to see is refreshing; *the characters themselves- they're wonderfully flawed and all-too human; *details like the musketeer cape, the letter that left a mark; *the irony of just living, exposed.
Like the best Woody Allen films, Kings and Queen boldly endeavors to blend tragedy and comedy, and always foregrounds moments of emotional truth. Arnaud Desplechin explores creative ways to track his story, skillfully varying rhythms and imbuing his characters with depth and subtly. Mathieu Almeric is great. https://filmcapsule.wordpress.com/2010/12/11/kings_queen/