ahahha. but it sounded great man!
I liked this film they visual style was top notch but the story seemed to stay only on the surface of the issues facing the characters and tried to be too many things in my opinion. The performances weren't the problem but more just the foundation of the story as there are a lot of good elements that could have been focused on that would have made this film really great.
Tediously self indulgent, way too long and plagued by a surfeit of melodrama and plot devices that all but smothered any chance of my engaging with the tender heart it was trying desperately to set a beating. At times I found it ludicrous especially when pegleg took over the bare knuckle fighters betting book. I liked the hand to snout scene with Orca but mostly this left me yawning and amusing myself guessing what was going to happen next. Sadly, I was all too often on the money.
beautiful film with exceptional characters. Cotillard's portrayal of a woman who lost both legs below the knees was so well done, you'd think it happened to her. Alain van Versch's character is as unaware of what he'll do next as we are, yet sticks to his own logic throughout. People don't realize what they're capable of, until they need to be, at which point, they step up. a film that really celebrates people.
It is a meticulous study of the characters portrayed brilliantly by Marion Cotillard and Matthias Schoenaerts, who switch between brutality and tenderness throughout this multilayered story written and directed by Jacques Audiard who also made the unforgettable "Un Prophete". Once again he creates a film that has got me talking about it.
This is an easy film to recommend to anyone who is a fan of dark, even grim, foreign films. The performances are excellent across the board, with Marion Cotillard deciding to play it subtle in a role that could have easily drawn a lot of attention to itself. Still, I'm inclined to agree with the viewers here who called out "Rust and Bone" for being overly manipulative. Sure, it's a tightrope that Jacques Audiard has to walk since conflict is what propels a story forward and he's clearly interested in exploring the darker corners of human experience. Eventually, though, the film becomes almost predictable in its portrayal of suffering. The audience is intended to be moved by the grief on display but, during the final 15 minutes especially, I felt more like a puppet on strings.
Jacques Audiard is one of the finest filmmakers in the world, and this film is a shining example of why. The cinematography is loose, warm, and beautiful, while the editing perfectly paces the sun-bleached story of love (or, loves). The performances are controlled and intense, proving Audiard's great skill in rolling brutality and emotion into one character (don't forget Read My Lips or A Prophet).
Estupefacta...Me quedé cuando terminó la película en el cine. Valiente porquería. Buenos actores, mucha pasta y buenos efectos... y un guión que empieza con pretensiones y va decayendo en picado.. Da la impresión de que al final se hizo un montaje a toda prisa o con recorte de presupuesto porque ese final made in hollywood que se resuelve en 0'2'' después de 2 horas de película... Por no hablar de los picos de guión. Estupefacta, vamos.
rivals with Django for "artsy exploitation" picture of the year. Harsh portrayals of disability, illegal fighting ran by a gipsy, killer whales, poverty, sex and piss, R&B doesn't leave too much to the viewer's imagination. Also like Django it ends up saying pretty much nothing and at times resembles a music video. And as for the "human side of the brute" aspect, it's hardly new : think Raging Bull or La Strada
Always the consummate storyteller and craftsman, Jacques Audiard combines Stéphane Fontaine’s fluid camerawork and Juliette Welfling’s intuitive editing with Craig Davidson short stories (on which the film is based) to say that through love we overcome, through love we change and it is through love that we ultimately, you know, live. Audiard unashamedly declares this as his exalted statement on the human condition.
Although styled as a tilt at an Oscar for the lovely Marion Cotillard, the film centres on Ali's life and his redemption by Steph -it's unbalanced because she is uninvolved for large parts of the film, and her suffering seems incidental. Plus, it escapes into sexy territory too often, instead of sticking to the one-man portrait of the brilliant A Prophet. However, Schoenaerts is excellent, and he saves the film.
Incredible. Cotillard gives the best performance of her career so far and the cinematography and soundtrack are great. I also admired how realistic the aspects of Cotillard's disability were depicted.
On second viewing what strikes me most is the raw, animalistic performance by Matthias Schoenaerts. A performance of deep complexity that cuts to the most primal core of masculinity yet maintains the possibility of something more humanistic at its core. The shared vulnerability at the heart of the two main characters speaks volumes above the near melodrama plot. Audiard has fashioned a thought provoking drama.
Stripped of her spirit after an attack by a killer whale in a marine park in the Côte d'Azur, Marion Cotillard is paralysed physically and mentally. She is saved by a streetwise traveller who carries her into the sea and fights bare knuckled to provide for her. It is a tale of love and courage as this couple struggle to survive in the poor underbelly of the South of France.