With a gaggle of beautiful American strippers, Joachim, a veteran impressario attempts to make his comeback touring a variety show round France. But on tour, Joachim has to keep his wits if he wants to be paid, keep his estranged wife happy, and keep a handle on the uncontrollable girls.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
Avec ce film, l'acteur-réalisateur Amalric semble être devenu un héritier artistique de John Cassavetes, autant dans son style que dans sa vision des rapports humains et du mélange constant entre la scène et la vie. Son approche fonctionne d'autant mieux qu'il fait jouer de véritables vedettes du "New Burlesque". Revigorant, ce rapprochement franco-américain !
Mathieu Amalric's look at the cabaret world described in Tournée is affectionate and so loving that you finally understand with him that his family is here. The mise-en-scene, awarded in Cannes, is superior. To be short, I loved this film. Masterpiece.
It starts with the coolest opening credit sequence in recent memory. And then we have to catch up with our auteur, mid-strut, the coolest motherfucker on earth. He runs a burlesque show, and he's also the kind of guy who gets knocked down a lot. The beauty is he gets up everytime.
Wonderful. There is an air of melancholy that entrances throughout this film but one of survival and perseverance as well. An exceptional script by the director and Philippe Di Folco follows an American burlesque crew brought to France by their manager (Amalric) with great promises he can't deliver. The performers are naturalistic and moving and Amalric gives one of his best performances.
Mathieu Amalric's directorial debut is a surprisingly soulful account of a burlesque troupe's journey across France. Amalric is excellent as the tour's producer, who finds his tattered home life following him on a wild and difficult trip. A bit aimless at times, but there is a surprising amount of pathos to be found as Amalric examines a life ill spent.
A film about nothing. Amalric shoudn't be a screenwriter or director. To show the real emotional state of a person it takes more than one or two shots of crying and to be a director you have to know how to use the camera and shoot at least one interesting, inovative, atmospheric or technicly good scene - specially if you have such an easy work with the showgirls as the object/subject.