Annie Hall
[See “Entry from July 30, 2008” under “My Diary”]
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[See “Entry from July 30, 2008” under “My Diary”]
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Ma Vie en Rose by Alain Berliner manages to be a charming film, rather in the manner of the upbeat and jokey postmodernism of Berliner’s fellow Belgian, Jaco Van Dormael. Enjoyable as it is in many ways, however, one can never quite lose the sense of being got at by—that rare thing—a perfectly amiable propagandist…
Claude Chabrol’s The Bridesmaid (La Demoiselle d’Honneur), which came out in 2004 but is only now finding a release in the US, is a classic Chabrol-type study of the point where passion and madness intersect with ordinary life. Passion is represented by Senta (Laura Smet), who has changed her name from Stéphanie to adopt that…
Nettoyage à Sec (Dry Cleaning) by Anne Fontaine presents us with a French version of that now familiar Hollywood trope, merely gestured towards in 8mm, the capacity for sexual adventurism and even perversion in all of us. Nicole (Miou-Miou) and Jean-Marie (Charles Berling) have been married for 15 years and run a dry-cleaning establishment in…
Breakdown by Jonathan Mostow is a superior sort of thriller that is a step in the right direction after recent Hollywood examples of the genre—that is, in the direction of the things that ordinary, reasonable people really do fear. Which is to say not unbelievably big Amazonian snakes or volcanos erupting in downtown Los Angeles…
The Best Man, written and directed (in Italian) by Pupi Avati begins by solemnly informing us that “Once upon a time, women would marry not knowing what love was. . .” And lest you think, in a moment of nervousness, that you might not know what it is either, the film hastens to explain that…
Smilla’s Sense of Snow, based on the novel by Peter Hoeg and directed by Bille August from a screenplay by Ann Biderman, is another film in which far too much is going on. At its most basic, it is about the search by the beautiful young Smilla (Julia Ormond) for the murderer of a six…
Ma Vie en Rose by Alain Berliner manages to be a charming film, rather in the manner of the upbeat and jokey postmodernism of Berliner’s fellow Belgian, Jaco Van Dormael. Enjoyable as it is in many ways, however, one can never quite lose the sense of being got at by—that rare thing—a perfectly amiable propagandist…
Claude Chabrol’s The Bridesmaid (La Demoiselle d’Honneur), which came out in 2004 but is only now finding a release in the US, is a classic Chabrol-type study of the point where passion and madness intersect with ordinary life. Passion is represented by Senta (Laura Smet), who has changed her name from Stéphanie to adopt that…
Nettoyage à Sec (Dry Cleaning) by Anne Fontaine presents us with a French version of that now familiar Hollywood trope, merely gestured towards in 8mm, the capacity for sexual adventurism and even perversion in all of us. Nicole (Miou-Miou) and Jean-Marie (Charles Berling) have been married for 15 years and run a dry-cleaning establishment in…
Breakdown by Jonathan Mostow is a superior sort of thriller that is a step in the right direction after recent Hollywood examples of the genre—that is, in the direction of the things that ordinary, reasonable people really do fear. Which is to say not unbelievably big Amazonian snakes or volcanos erupting in downtown Los Angeles…
The Best Man, written and directed (in Italian) by Pupi Avati begins by solemnly informing us that “Once upon a time, women would marry not knowing what love was. . .” And lest you think, in a moment of nervousness, that you might not know what it is either, the film hastens to explain that…
Smilla’s Sense of Snow, based on the novel by Peter Hoeg and directed by Bille August from a screenplay by Ann Biderman, is another film in which far too much is going on. At its most basic, it is about the search by the beautiful young Smilla (Julia Ormond) for the murderer of a six…
Ma Vie en Rose by Alain Berliner manages to be a charming film, rather in the manner of the upbeat and jokey postmodernism of Berliner’s fellow Belgian, Jaco Van Dormael. Enjoyable as it is in many ways, however, one can never quite lose the sense of being got at by—that rare thing—a perfectly amiable propagandist…
Claude Chabrol’s The Bridesmaid (La Demoiselle d’Honneur), which came out in 2004 but is only now finding a release in the US, is a classic Chabrol-type study of the point where passion and madness intersect with ordinary life. Passion is represented by Senta (Laura Smet), who has changed her name from Stéphanie to adopt that…
Nettoyage à Sec (Dry Cleaning) by Anne Fontaine presents us with a French version of that now familiar Hollywood trope, merely gestured towards in 8mm, the capacity for sexual adventurism and even perversion in all of us. Nicole (Miou-Miou) and Jean-Marie (Charles Berling) have been married for 15 years and run a dry-cleaning establishment in…
Breakdown by Jonathan Mostow is a superior sort of thriller that is a step in the right direction after recent Hollywood examples of the genre—that is, in the direction of the things that ordinary, reasonable people really do fear. Which is to say not unbelievably big Amazonian snakes or volcanos erupting in downtown Los Angeles…
The Best Man, written and directed (in Italian) by Pupi Avati begins by solemnly informing us that “Once upon a time, women would marry not knowing what love was. . .” And lest you think, in a moment of nervousness, that you might not know what it is either, the film hastens to explain that…
Smilla’s Sense of Snow, based on the novel by Peter Hoeg and directed by Bille August from a screenplay by Ann Biderman, is another film in which far too much is going on. At its most basic, it is about the search by the beautiful young Smilla (Julia Ormond) for the murderer of a six…