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In this section are films that deal with more serious themes, such as crime, passion, troubled romance and hard-hitting human stories.

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  • Elle l'adore

    Elle l'adore

  • Les Anarchistes

    Les Anarchistes

  • Hors la loi

    Hors la loi

  • Un prophete

    Un prophete

  • Mediterranea


  • Chaos


  • Jalousie

    La jalousie

  • Suzanne


  • Au nom de ma fille (Kalinka)

    Au nom de ma fille (Kalinka)

  • Mal de pierres

    Mal de pierres

  • La Proie

    La Proie

  • 11.6


  • La prochaine fois je viserai le coeur

    La prochaine fois je viserai le coeur

  • Les cowboys

    Les cowboys

  • Après le sud

    Après le sud

  • Chocolat


  • L'Atessa


  • La fille inconnue

    La fille inconnue

  • Belle de jour

    Belle de Jour

  • La femme tranquille

    La femme tranquille

  • Un peuple et son roi

    Un peuple et son roi

  • Belleville Story

    Belleville Story

  • Nelly


  • 1905

    1905 - The Winds of Passion

  • Frères Ennemis

    Frères Ennemis (Close Enemies)

  • L'Été meurtrier

    L'Été meurtrier

  • Les fantômes d'Israël

    Les fantômes d'Israël

  • Guillaume, la jeunesses du conquérant

    Guillaume, la jeunesse du conquérant

  • Une saison en France

    Une saison en France


Although I’m including this as a French film, it is actually an Italian production set on Sicily. The two lead female actors are, however, French, and the dialogue shifts seamlessly between French and Italian depending on who is present in the scene.

Juliette Binoche’s Anna is mourning the loss of her son, Giuseppe, as we witness the sombre religious rites and a house blacked out from daylight with mirrors covered. She receives a call from Giuseppe’s girlfriend, Jeanne, who is due to visit, but she doesn’t tell her about Giuseppe.

Jeanne arrives while family members are still present, and is clearly confused by what she sees. At first Anna doesn’t want to see her, but when she does she says that she has just lost her brother. One gets the feeling that Anna sees Jeanne as a continuing link with her son, there being more than a touch of supernatural about this film.

As time passes the two women become close, with Anna wanting to know more about Jeanne’s relationship with Giuseppe. Jeanne remains confused, finding Anna quite strange, but she looks forward to Giuseppe’s imminent arrival. We sense Anna’s pleasure in Jeanne’s company, while away from her she suffers greatly from her loss. Their relationship is the heart of this film, and I drew comparisons with Clouds of Sils Maria, another two-hander film in which Binoche played opposite Kristen Stewart. A different but perhaps equally strange relationship to the one in this film.

Of course the time had to come where Anna must face up to telling Jeanne the truth, or something! She choses ‘something’, trying to let Jeanne down gently, but it turns out to be far from gentle. Jeanne packs to leave while Anna goes to town for the Easter festival, where the religious symbolism clearly has a profound affect on her. It is at this point we see a scene reminiscent of the end of the film Amour, leaving us to decide whether we’ve witnessed reality or fantasy.

Later, as Jeanne leaves, and the two hug emotionally, we sense that she may finally have put two and two together.

This is a film that is full of symbolism and a fair degree of ambiguity, with superb performances from the two female leads, great cinematography and a haunting soundtrack.
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