Jean, a veteran actor trapped by his past, hides out in an abandoned mansion in the South of France where Juliette, the great love of his life, once lived. A group of children discover the same house, the perfect location to shoot a horror movie.
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
Given my love for Truffaut's films from the time he made his mark, along with Jean-Pierre Leaud, in 'The 400 Blows', how could I not love this film as well? A masterful performance by the main character is contrasted with the youthful energy and curiosity of his sidekicks. The film is beautifully photographed in a wonderful setting in the south of France.
It's so good to see Jean-Pierre Léaud again on screen, and probably he's the single reason to watch this film. The story loses focus here and there, and the children seem out of place - they do not match the tone of the film, while not bringing anything interesting to the table. I wish the film explored the main character's inner turmoil a bit more deeply instead.
PC. 3,5.The lightness of "Yuko & Nina" in contrast with a fantasmatic universe, that comes from Brisseau's final films, but that found its seminal definition previously in "Céline", of the same filmmaker. Even if the encounter can generate resistance and contradictions - the children are charming but contradict the implicit romanticism -, it's a beautiful encounter, inside light contrasts or under a radiant sun.
Honest in intentions and gaining sympathy from the aged Léaud, this is regrettably a weak film on ageing, finitude, filmmaking, and legacies. Suwa explores well color, mostly in the opening sequence and at the house's interiors. Yet, the more the stage is given to children and their project, the more the film's impact is being reduced since most of the shots, naturalist or visionary, are emptied of significations.
I have some sympathy for this film, as well as for «H Story», his «remake» of «Hiroshima, mon amour» but the cinema of Nohubiro Suwa has also clear limitations. His meta langage and references makes him maybe a kind of Japanese post-modern who works with impro and a lot of trust with his actors. But I also see someone who has little to say and where the necessity of telling a meaningful story is secondary.
https://www.youtube.com/watch?v=8fCcdHMWtZo&t=8s Sorry, this is not a review of "Le lion～" but Suwa's newest short named "Ainsi va la vie". This short is about tree women who are aspiring artists, in which Suwa captures the difficulty and sadness in women's life so delicately that I cried tranquilly. This is one of the best films in 2019. If you understand French or Japanese, definitely check it. And Pauline Etienne!