An ambitious, intelligent and serious film but seriously overwrought, overlong and at times it loses coherence. A shame because the subject matter is important, and both the performances and the overall production are excellent. Seems almost philistine to suggest that it might have been a better film with the loss of twenty minutes but that is certainly my immediate response.
A critique of the darkness that lies at the heart of modern Europe. A compelling take on corporate culture and the alienation it produces. The film discusses various philosophical themes in an abstract manner, focusing more on the aesthetic of the ideas rather than their content. The film does feel slightly elongated but in its totality provides a dispiriting two hour journey with little to no hope for redemption.
There's much to admire but essentially it has that French disease of ponderousness - long shots of a man sad in the morning, of a song. The word I seek is self indulgent. An excellent book behnd this? a But this is riddled with hackneyed post structuralist bonmots of texts destroying texts, fragments -..ultimately and self indulgent .(a personal view some may love it) good idea behind it and excellent performances.
A slow-burning and largely unsatisfactory work. The reliance on Amalric's voiceovers to make the viewer picture certain images for himself is understandable - these are, without doubt, the most affecting moments of the film - but the lack of pacing and focus leave it floundering.
Voir peut-être, après viosionnage, la revue sur Critikat: http://www.critikat.com/actualite-cine/critique/la-question-humaine.html I thought this movie, sometimes a little jumbled, was still powerful and reproduced well the coldness of the text (and the violence of our technocratic world).
Riveting despite being a quiet movie. The best of French intellectualism without the preciosity. Mathieu Amalric brilliantly leads a terrific cast. Direction manages to be both haunting and bold with stark cuts and provocative narrative jumps. The theme of guilt is multi-textured—sins of the father, sins of the bystander, sins of the dissimulators who re-enact old crimes draped in new uniforms.
i didn't quite *get* how music and film fit together although i deeply enjoyed the music. I thought the movie brilliantly, and thoughfully--with necessary slowness--drew out the crucial connections , both historically, and in terms of contemporary corporate capitalism (is there another kind?) between capitalism--and facism.
An excellent script from Elisabeth Perceval adapting the Francois Emmanuel tome into a mediation on business psychology, guilt and contemporary European identity. Klotz's direction is languid enveloping the viewer in its slow pace and eventual discoveries. Music choices may be disconcerting to some but fit and create the mood intended. Amalric very good here with fair turns by veterans Lonsdale and Castel.
C'est une grande question que celle de la frontière à partir de laquelle on sombre dans l'inhumanité, d'autant plus que le langage même, par sa nature, sa substance de mots, et sa capacité à rationaliser, abstraire, déréaliser, peut nous y conduire sournoisement, si l'on n'y veille. C'est à cet "apocalypse now", à cette descente dans notre propre enfer moral, que semble nous convier avec exigence Nicolas Klotz.