A train full of mourners rumbles unsteadily through the French countryside. Through the train window the mourners can see—travelling parallel in a car of its own—the coffin of the tyrannical painter Jean-Baptiste. Before abandoning an existence that no longer amused him, Jean-Baptiste asked to be buried in the distant city of Limoges, declaring that those who loved him would take the train. In his life, he had loved his students and they had adored him. Boys and girls were all fascinated by him, all sexually aroused in his presence. His immoderate love for the boys even charmed the girls, in spite of the astonishing rivalry of it all. And so there are lovers and lovers’ lovers, ex-lovers’ and their new wives, old friends and casual acquaintances, all on the train form Paris to Limoges, all navigating through the chaos of love, sex, fidelity and loneliness. –Inbaseline
Primarily known as a stage director in his native France, Patrice Chéreau has also made quite a name for himself in the realm of cinema with such acclaimed features as Queen Margot (1994) and Intimacy (2001). The Lezigne native crossed from stage to screen with the 1975 thriller Flesh and the Orchid, and the auspicious debut earned its up-and-coming director two César nominations. In 1984, Chéreau shared a Best Writing César with Hervé Guibert for his feature The Wounded Man, and in 1994, Chéreau scored his biggest hit to date with the bloody historical drama Queen Margot. Adapted from Alexandre Dumas’ novel, Queen Margot was nominated for Best Costume Design at the 1995 Academy Awards in addition to taking home top prizes at the Cannes Film Festival and the César Awards. Following a pair of successful television endeavors, Chéreau returned to the screen to great success with the emotional drama Those Who Love Me Can Take the Train (1998). An introspective tale of an artist’s final… read more
The restless camera transposes the anxiety of its characters - with different ages, sexes, wills, desires, hatreds - and their relationships with each other. With a great cinematography, Chéreau captures the joys, sorrows and uncertainties of human relations, however, the soundtrack overly introduced throughout the film irritates (sometimes) and doesn´t add anything. Tensely captivating.