Twenty-eight-year-old Tom leads a life that might be termed as criminal. In doing so, he follows in the footsteps of his father, who made his money from dirty, and sometimes brutal, real estate deals. Tom is a pretty hard-boiled guy but also strangely considerate as far as his father is concerned. Somehow he appears to have arrived at a critical juncture in his life when a chance encounter prompts him to take up the piano and become a concert pianist, like his mother. He senses that this might be his final opportunity to take back his life. His piano teacher is a Chinese piano virtuoso who has recently come to live in France. She doesn’t speak a lick of French so music becomes the only language they have in common. Before long, Jacques’ bid to be a better person means that he begins to yearn for true love. But, when he finally has the chance of winning his best friend’s wife, his passion only succeeds in scaring her. And then, one day, his dubious past comes to light… –IMDb
Born in Paris, France, in 1952. Jacques Audiard’s family has always been involved in movie business. His father, Michel, was a popular screenwriter and director and his uncle a producer. But in his teens he refused that world and wanted to be a teacher. He studied literature and philosophy at the Sorbonne but didn’t finish his degree. By that time, his then girlfriend suggested he work as a trainee editor during his university holidays. He worked as an assistant editor on several movies like “Le locataire” (1976) directed by Roman Polanski.
He also joined a theater where he did all kinds of work. He specially enjoyed adapting works for stage. In the eighties he wrote the screenplays of some successful movies like “Mortelle Randonnee” (1983), “Reveillon Chez Bob” (1984), “Saxo” (1987), “Frequence meurtre” (1988) and “Grosse fatigue” (1994). Most of those films were thrillers directed by prestigious filmmakers like Claude Miller and Michel Blanc. He also directed some well received… read more
Preceding the heftier, more intricate narratives of Un prophète and De rouille et d’os; nevertheless recognisably Audiard, in its gritty realism, criminal edgings and roughened family unit. Contrasting the underbelly’s slick organisation is Duris’ messy path to salvation, which itself contrasts with Audiard’s slick, efficient framing with his handheld - near Assayas’ economy - confirming his sound eye and grasp of his preferred milieu, making for a clean narrative delivery on the whole.
One of the best French movies I've seen in a long time! It gets you hooked right from the begining, and its storyline is so meaningful and complex... The relation he has with his mentor: only using music as a form to express themselves and comunicate is really interesting, and was incredibly well explored by Audiard!