Grégoire Canvel has everything a man could want. A wife he loves, three delightful children and a stimulating job. He’s a film producer. Discovering talented filmmakers and developing films is precisely his reason for living. Yet his prestigious production company, Moon Films, is on its last legs.
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This is not an easy movie. It tackles big stuff– the biggest, really, like the precarious balance between present and future, family and work, business and art, mortality and immortality. But it breathes, nonetheless.
Hansen-Løve’s greatest achievement here may be in the film’s sui generis structure: She sets up the terms as she goes with quiet authority, and even those that don’t wholly convince (the suicide scene itself; a subplot involving a secret family) don’t disrupt the film’s intricate and involving progression.