Extremely well-crafted and beautifully orchestrated romance under the sustained outbursts of Ravel violin concertos. It is impeccably acted by a superb trio led by an ethereal Béart, who is perfectly tuned between composure and fragility. The transitions in the love triangle are elegantly sustained and gently punctuated by contained, yet tempestuous passion. The latent homosexuality is properly understated. Stunning.
Obra maestra absoluta. La he visto muchas veces desde su estreno y me sigue pareciendo tan intensa como la primera vez. Hay varias escenas memorables, pero hay una muy especial, en la que Camille llega exaltada al restaurante donde Stéphane cena con una amiga y le reprocha amargamente su indiferencia después de haberla seducido.
A rather ordinary plot, made into something more than the sum of its parts, because of those parts. Principally Béart; she absolutely shone in this film. Auteuil plays true to form as quiet and reserved. The music fills the gaps in their relationship, in the dialogue, and in the film. Often, French films are culturally 'lost in translation' when viewed by Anglophones, especially Americans; this is one such case.
At first, there feels a lack of development on how Auteuil and Beart fall in love, but at the end you believe in the characters, but it's a shame Auteuil and Dussollier don't seem to trust the script. In some cases, you expect Dussollier to care more about losing Camille (believable), and Auteuil speaking his mind.