I really enjoyed this comedy drama from Olivier Assayas, weaving fiction, non-fiction (appropriately), and some absolutely superb lead performances. There are also some interesting points being made about art, ownership of memories/moments, and the future of our reading habits.
I was interested to see how the topic of digitisation would be tackled. Unfortunately, though, it never went anywhere. As soon as the characters began to have any kind of meaningful conversation about it, the film shifted into a relationship drama instead. It just became a film about people sleeping with each other and sometimes uttering things like "Did you know people read books on their phones!?"
Acutely observed, perceptive, witty. Best bit: in his latest work of auto-fiction, Leonard (Vincent Macaigne) claims to have received oral pleasure during a screening of Michael Haneke's The White Ribbon, when in truth it was during Star Wars: The Force Awakens. Details are important.
Sexy Canet, Binoche a suo agio, destinato ad un pubblico di rincoglioniti, pensa di noi il regista, manco stessimo guardando un tardo woody allen, le botte di contemporaneità già muffe per il fatto stesso siano trasposte in film, frecciatine, menate politiche, dibattiti con il vino in mano, corna a cui non frega a nessuno men che meno a loro disamorati, cinici (novità eh), fregandosene, del cinema sicuramente.
Possibly the most French film ever made. A film of ideas, philosophising, adultery, people having long conversations about the nature of truth. The talk of algorithms controlling our lives is a little dated now, even just two years later. Also, the scene where “Juliette Binoche” is mentioned in the film, while she is sitting there playing one of the characters, is just silly: self indulgent, like the film.
A boring display of bourgeois intellect alongside with bare minimum acting.The high speed of catapulting philosophical nature questions and answers in this film ,makes the characters unreal and antagonistic to each other and incompetent to reach the viewer . I was left suspended processing information rather being involved with the film. Thirty mins whilst watching it, i realised the banality of it and pressed stop.
The death of the novel, the democratisation (or trivialisation) of culture, the implacability of "progress", the ethics of auto-fiction, the ennui of the bourgeoisie... Assayas never satisfyingly develops any of these themes, each of which would be enough for one well-formed film. Two stars, because I know he can do better.
I enjoyed it. Dialogue was well written and delivered, and was packed with commentary on infidelity in marriage and publishing and books: just enough to make its point well and concisely and not too much to overladen it. Though it was dialogue heavy -- but I tend to quite like that. Nice mix of characters. Easy to watch.
The dialogue is never bland since each character is committed to being true and defending 'truth' despite their various relationship conduct. Power relations are well drawn by each actor. We're set in a contemporary context - the unfolding digital revolution, which also grounds the dialogue in statements and speculations that reflect external realities, which is invigorating, giving an extra reportage quality.
Ein schöner Film über die Diskussion Tradition versus Fortschritt und den Ausbruch aus dem Alltag. Ein Verleger hadert mit der modernen Technik und ein Autor kommt inhaltlich und stilistisch nicht weiter. Allen gemein ist der Ausflug in fremde Betten. Der Film selbst glänzt durch wirklich lange und intensive Dialoge, die in den französischen Alltag integriert wurden.
It delves into very contemporary conversations about literature, art and information consumption, but does so using very one-dimensional and bourgeois characters, with some sex and adultery to spice things up... which it doesn't. The metajoke about Binoche in the end was a complete facepalm. Overall, it wasn't too bad, but it wasn't too good either.
Cinema. The narrative banality is somewhat offset by the thematic's interest, decisive for a film's contextuality at the time it's made. The actors' game is also appealing, especially if we consider that Binoche is far from her usual irritating persona and that an efficient communication is created between them. But it's, once again, the commonplace of a sexual comedy among French cultured bourgeois.