Disagree with the viewer that claims this doesn't mean anything. It's about conflict in duality, the living and the dead as they flirt with one another. 'Me and you get along, but we're not the same' is the definitive message of the film. There is a kitsch analogy on peace towards the end, but overall it unwinds effectively. In tone it is similar to 'Pretty Little Liars', clinical, claustrophobic and patient.
Directed by Arnaud Desplechin, this thriller does well when it bolts so many other elements on to the central premise, but then starts to undo all of that good work when it spends so much time feeling unfocused and meandering. A bit of a disappointment, overall, I suspect it would be more easily dismissed if it had been pared down slightly and made into something with a lot more tension. Which I would have preferred.
I loved the journey even if I wasn't entirely convinced the destination was all that important. Takes me back to my version of 'theoretical Paris' from the early 1990s when women like Emmanuelle Devos, Mireille Perrier, Charlotte Valendrey and Marianne Denicourt wandered around in big overcoats, puffed away on cigarettes, talked in epigrams, were impossibly unattainable and made the Channel seem very wide indeed.
"I am determined to prove a villain and hate the idle pleasures of these days." The muddy colors of the film really made it hard to enjoy at all. "There! You know some guys! That's good, you see people. You see people, you make phone calls." Spy story interesting. "I'm taking care of someone... who's dead. I'm taking care of his memory."
There was something in the main character, who was somehow both clumsy and very determined at the same time. I loved the atmosphere created by Japanese-ish music at the beginning of the movie. It's certainly not the movie you think of when you refer to spy movie. "My father was a diplomat. I'm a doctor. A pathologist" isn't the most optimistic sentence to close the movie with.
"Channeling the paranoid, conspiracy-laden tone of the films of French New Wave titan Jacques Rivette, La sentinelle is a provocative, intricately constructed exploration of the traumas of post–World War II Europe and the lingering legacy of the Cold War. " - www.filmlinc.org.
This film told a strange, paranoid tale that was a bit hard to believe at times. It was like something that Cornell Woolrich might have cooked up back in the 1940s. The murky cinematography did not help. Stronger, more unusual images would perhaps have enhanced and supported the often dream-like story.