Elisabeth and Simon have been deeply in love for two months when Simon momentarily dies, but comes back to life. Simon does not want any further medical tests, but the couple are forced to grapple with the possibility of his death.
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Wow. Unspeakably awful. I am having trouble withstanding this blow. My God. The formal conceit, the film's only novelty, is a bankrupt enterprise. Let's start there. Everything else: O Lord! These people are awful. I do not want to hear basically educated, emphatically regular people whine endlessly about mortality and grief. Sabine Azéma. Her clearly-smitten director was unwilling or unable to direct her. I hate it.
Ce film se veut une réflexion métaphysique sur la vie, l'amour et la mort, un hymne immuable au passionnel. Il est de bon ton de crier au génie créatif, à la perfection cinématographique, mais on peut préférer "Hiroshima mon amour" ou "Providence". Gare aux détracteurs solitaires...
Really impressive use of Hans Werner Henze's brilliant and heavily textured 20th century music through apocalyptic snow interludes (a transition process that is used on a lighter way in Resnais late days with his wife) in a movie about religion and death, the meaning in daily life. Wish there was more movies with such radical music !! We tend to use bad music in the 2000's.