Its Only the End of the World Again 1st Edition
about loneliness
The story is familiar. because the portrait of dysfunctional family is not rare in the cinema of last decades. but the flick has a fundamental virtue - it is a Xavier Dolan work. and that change everything. because not the conflicts, vulnerabilities, isolation, angry and fears, the return of the son are the bones aspects. but the precise and not comfortable paradigm of loneliness. using admirable cinematography. the right actors. the close up. the forceof silence. the small gestures and shadows of memories. the beauteous cold dialogues. and the last part as platonic building for a search who becomes out of target. a film who impress. non only for artistic value. but for remarkable science to present the things who are out of us existence inside u.s.a.. frustrations, intentions, the desire to be far by the other who could represent only the stranger. who is just an blow. so, a cute Xavier Dolan.
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I like the actors, I liked the movie
Alarm: Spoilers
"Juste la fin du monde" or "It's Only the End of the World" is a co-production between France and Canada in the French linguistic communication. The director here is Canadian filmmaking prodigy Xavier Dolan and it is his newest piece of work. it is probably also the film with the most big names in the bandage by him, such equally Oscar winner Cotillard, Bond girl Seydoux and Ulliel, Cassel and Baye also have their fare share of Hollywood productions in their bodies of piece of work already. And so it is maybe a bit surprising that this film was non received as well every bit most of Dolan'southward other works. Or maybe information technology is not because information technology oft doesn't work out when it actually should. Then again, I myself enjoyed these slightly over 90 minutes for the virtually part. It is the story of what happens when a terminally ill fellow comes back to his family and has the intention to tell them about his disease. However, they are more than than busy with their very own struggles and conflicts they accept with themselves and each other.
I personally really like Cassel, Seydoux and Cotillard, then I was looking forrard to this picture. Given my personal bias there, it's probably a bit underwhelming that I would say information technology was just a skillful movie. Baye was fine too, but Ulliel didn't do too much for me. The only scene/moment I quite liked with him is when we see him wink at his blood brother in the "Dragostea din tei" scene. This is also somewhat only scene when the family is in something that can be considered close to a country of harmony and I think this was among the best scenes of the entire movie. It was nice to run across the two characters dance then enthusiastically and carelessly before it all went dorsum to drama and destroyed idyll afterward very quickly. I also liked the flashback scene in that location, certainly more than the one after. The best friend story line, also with the death, felt a bit rushed in and it did not have any real emotional touch on equally a issue in my opinion. Cassel probably gives the loudest functioning of the flick, merely I recall he was a good choice for the character. Cotillard gives the nearly quiet performance and she was disarming too.
I think some people may have a trouble with this moving picture because information technology is really almost always the same from starting time to finish. The scenes with all five together always consequence in arguments, tears and screaming and the large concluding scene is no exception to that and it includes actually cypher besides different that what we saw before. But to me it wasn't a problem at all, not only because I similar the actors, but besides because it felt pretty authentic. The tension rises, but why would entirely new things happen. I as well retrieve information technology felt accurate that the protagonist kept silent somewhen about his illness. Favorite performance is difficult for me to selection equally I actually liked everybody except Ulliel. Notwithstanding, I must say that Léa Seydoux looks and so stunning right now and is all the same so extremely desirable, even if she plays a pretty wrecked character. The tattoos sure help matters every bit well, besides due to personal preference. Shame the camera became blurry when she is topless. What a waste. I personally would say that the cadre plot theme about 1 character dying also could have left out and it really would not take fabricated too much of a difference, at least for me. Peradventure people who won't like the cast every bit much as I do volition non savor this one equally much, but I call back those who similar at least one cast member a lot here should check this one out. Finally, the Moby song at the stop is a good vocal, simply it did non work half equally well in the context like the aforementioned "Dragostea din tei". Overall, the good outweighs the bad and this film is worth watching, particularly for the really tense final conflict scene. Another strong add-on to Dolan's trunk of work. And I also like films like this one hither where the focus is on not too many characters and where there are no forgettable supporting characters. The awards attention may take been slightly too much though, peculiarly at Cannes.
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Intense and captivating
This picture tells the story of a gay man who goes dorsum to his home town to run into his family, after not being in impact for twelve years. The film details the interaction between him and his for family members, which is dysfunctional and twisted.
I was captivated past the last flick "Tom at the Farm", so I had high hopes for "Information technology's Simply the End of the Globe". This time, the gay subplot is but a minor incidental subplot, as the director has manifestly fabricated it big, and tin attract a plethora of big stars. The plot is initially quite plain, but as the story builds up, it gets more intense and twisted. 1 would exist excused for thinking Gaspard Ulliel being the star of the flick, but information technology's Vincent Cassel who is the existent lead thespian in this. His character is so unlikable, that it will surely evoke much emotions in the viewers. The final showdown is so captivating that it is almost unbelievable. The very terminal scene uses a meaning imagery, and it brings viewers right down to rock bottom. This flick is so intense and captivating, I enjoyed it loads.
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Maiday
Alarm: Spoilers
Nathalie Baye and Marion Cotillard, two dandy actresses from different generations, 'sold' me on this movie about which I knew naught. Normally I run a mile from any movie whose cast includes Vincent one- trick pony Cassell unless, as here, his Jonny-One-Note violence is offset by at least ane decent co-star and here, every bit mentioned, we have two. The plot is centred on our old friend the dysfunctional family unit and in this example it is reminiscent of A Christmas Tale without the snow. To nutshell information technology, Gaspard Ulliel has last Aids and is moved to visit his mother, sis, brother from whom he has been estranged for 12 years during which fourth dimension he has acquired a sister-n-law, Cotillard, though why someone as sane and gentle equally Cotillard would ally a psychotic sociopath like Cassell is something known only to the writers. It does, of course, end in tears and Ulliel leaves with his secret intact. The truest line in the whole schmear is when his sister calls Casselll 'a f***ing psycho'. She got that i correct.
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Dolan's middle-road residing
Canne's 2016 Grand Prize of the Jury winner, Canadian wunderkind Xavier Dolan's 6th feature, Information technology'Southward ONLY THE END OF THE Globe is based on Jean-Luc Lagarce'south semi-autobiographical theatrical slice, and its closest reference inside Dolan's canon is TOM AT THE FARM (2013), adapted from Michel Marc Bouchard's play, a throbbing drama predominately enclosed inside a single household. And this time, Dolan goes fifty-fifty further, not only the story is nearly exclusively locked inside a family house with 5 characters, the time-frame is also condensed just within a few hours (bar some sketchy flashback).
In the opening monologue, within a plane, Louise (Ulliel), a 34-year-old author, confesses his impending decease (from an unspecified affliction), and the destination of his trip, to visit his family which he has left 12 years former for the first time. At showtime, it seems Dolan expunges whatever signifiers of digital applied science to avoid signposting a specific time for the story, it could happen well in early 90s when Lagarce wrote the play, or in current days, but when DRAGOSTEA DIN TEI merrily pops upward, the effort dissipates immediately, nevertheless, a more relevant distinction is the once-tabooed homosexuality has taken a dorsum seat in the narrative (dissimilar to TOM AT THE Subcontract), instead, Dolan archly toys with his opening gambit: Louis is going to drop the bomb onto his kin, and god knows how they will react?
In the ensuing over-deliberate familial wrangle, this tantalizing question which is blatantly deployed as a trigger of viewers' marvel, has ultimately evaded the drama, what Dolan musters is a series of bromide-suffusing tête-à-têtes betwixt Louis and his mother Martine (Baye), younger sister Suzanne (Seydoux), elder brother Antoine (Cassel) and Catherine (Cotillard), Antoine's wife, the sis-in-police he has never met hitherto, and at other time, a cacophony of the usual suspects generates on its own, meanwhile Louis remains excruciatingly tight-lipped through and through. A gaunt-looking Gaspard Ulliel gives a laudable performance, straitjacketed in his diction, the character is solely built on affective miens and infinitesimal gestures which demands taxing concrete effort to pad out the lacunae in Dolan's meditative close-ups (Dolan really loves Ulliel's model- contour and blues-imbued visage) and what'due south more than incredible is Ulliel instills a visceral pang of desperation into Louis' perturbed psyche in the face of a massively elliptical story-line.
Vincent Cassel, as always and then rebarbative in abominable aggro, gets an about-face display of bravura in the blistering altercation consummated near the finish-line, don't guess the volume by its cover, never, his Antoine is some other victim in the aftermath. Léa Seydoux and Nathalie Baye, both ship upwards impressive theatrics of niggling verbosity and rapier-similar acrimony to an exuberant extent. Which leaves Marion Cotillard's Catherine, being the only outsider in their bloodline, engages with a more than discombobulated outlook in her timorous muttering and courteous self-consciousness, which is not a big stretch for the Oscar-winner, maybe that'south why Dolan compensates with overlong glamour gaze into Catherine'south dew-eyed comeliness (why will she ally a animal like Antoine, one cannot help wondering?), playing out tacitly with Louis' soulful kindness.
We have only been granted sporadic glances into Louis' past in betwixt (in the grade of Dolan's emblematic slo-motility, moist and smoky grandeur), at that place is no buried secrets to be disinterred, no irreconcilable feud running in consanguinity, we accept no thought neither what pushed Louis away from habitation years ago nor what has been keeping him from divulging his tidings at present, yeah, human emotions are sophisticated, only they are inherently follows certain logical pattern no affair who flimsy it could be, if it is Dolan's intention to obfuscate and equivocate and exit usa to pattern the jigsaw, he has washed a splendid task.
Opening with Camille's poignant HOME IS WHERE It HURTS and rounding off with Moby'south nostalgia-infused NATURAL BLUES, Dolan's latest offering is a tad shambolic in bootstrapping its central drama and overindulges in its creative license which is dwarfed in front of TOM AT THE FARM or MOMMY (2014), but on the other manus, it doesn't veers into narcissism and smugness equally unbearable as in HEARTBEATS (2010), a center-road residing might not be a bad matter to cool down Dolan's hyped auteur-status, so we might be more poised for another incandescence along the line, inevitably.
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A piddling confusing
I think this motion-picture show is definitely not as bad as the publicity and the buzz from the film festivals would atomic number 82 ane to believe. I remember it still carries a lot of Dolan's trademark cinematic flourishes. Just I likewise think they exist in this film to a very distracting caste. The screenplay lays the foundation for some very interesting character dynamics, merely information technology seems as if they never really come up to fruition and all nosotros have are very barebones approaches to what should have been a great film. The cast surely gives it their all, even when the material actually isn't helping them. Some of the camera-work and music choices are also a flake baffling. Information technology's slap-up and there are noteworthy aspects, but it's a great disappointment.
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The mold is hardly customized routine
Warning: Spoilers
That's a film I would recommend to neurotic people who are slightly paranoid and consider they are misunderstood and unable to communicate with anyone. And when they endeavor it's the end of the world because they can't speak more than 3 words and because they cartel address people direct and personally. Add to this Asperger syndrome the fact that we are in a family with a compulsive speaker, the mother who tells always and over and over once more the same stories that anybody knows but that everyone is supposed to listen to and appreciate. Add together to that we take an elder brother, Antoine, and a younger blood brother, Louis. And one more re- visit to Cain and Abel. The elder brother is the ane who works in a mill, similar Cain later on his criminal offense. Louis is obviously writing plays in a big afar city and he is successful, just like Abel was with God for his well grown vegetables, these things that yous have to sweat to grow, whereas Cain, earlier his crime was just looking after herds of animals, no sweat or not too much anyway. Bad boy! And the symbols are crossed, mixed and we have lost the light of the divine curse in the meantime and replaced it with a elementary human expletive.
Add to those a sister, Suzanne, who is plain completely locked up in her room, doing nil, living on her mother and with her mother, sketching nice little drawings that she will never bring out to any fame. She is a recluse of sorts. Antoine is married and his wife, Catherine, is a mother of several children. If I have understood properly there is a son who is chosen Louis, not like the younger brother but similar the father who is cruelly absent from the present situation, and one or 2 girls. The relation between Antoine and Catherine is explosive all the time because Antoine does not like to speak and he does not similar to mind, so he does not like people who speak, especially nearly things that may concern him.
Louis has come up to say something merely in the terminate he will say something that is non what has any importance, and is probably not what he wanted to say and he will non say what is so of import for him at this moment and why he has come back "home." In some short sentences here and there and not more than hither and there, we learn he was living in the gay area of his city, only he has moved out though he has kept the accost. He gets a phone call some time in the afternoon but we cannot know who it is from. He has a flashback well-nigh a dearest scene in the old place of his family, when he was a teenager, and we assume that we are dealing with a human being by the body language more anything else, and Antoine will tell him at the finish of a automobile ride that was difficult that Pierre Jolicoeur just died of cancer, "Your Pierre!" That's all we know.
Louis' departure is very hard considering Antoine wants to bulldoze him to the airport only everyone finds this departure slightly too fast and Antoine becomes trigger-happy with Louis, and so the female parent takes Antoine out, the sister disappears and Catherine goes out to rejoin Antoine and the mother on the back terrace.
Typical film by Xavier Nolan who is just, with historic period, getting more than discreet about gayness and gay life but it all turns effectually the aforementioned thing: two brothers or two young men who are related in a fashion or another and a third one that becomes the lover of i of the ii, causing the jealousy of the other and some kind of decease falls onto the third one, the lover who is here called with the nice proper noun of Jolicoeur, or Fair- heart. The way is very slow moments entirely centered on 1 or ii close-up shots of faces and their facial language that is telling more than the words which are limited. With at present so ane very short sequence of violence in words or in trunk language or in physical gestures. And yes in such families the finish of the world could be happening outside they would not exist able to see it. And in this case we will never know what important thing Louis wanted to tell, except that he had an episode of vomiting in the bathroom implying what he wanted to tell was serious, had to do with his health, but nosotros volition be frustrated for ever, and it tin't exist forenoon sickness since we were told he can't take children.
Dr Jacques COULARDEAU
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Read Into Expressions, Not Dialog
Warning: Spoilers
(Wink Review)
The flick'southward plot slowly unpeels like an onion. Where a human returns home to his family after a 12 twelvemonth absence. In that location is a brief statement early about why he decides to return only when or will he observe an opportune fourth dimension to tell his family during his family's constant bickering, snarky comments and yelling? This flick is dialog driven merely one must read in between the dialog to translate the true significant all of which is moderately open up to interpretation. It is a slow burn with effective cinematography with long shot holds and communicative music score. And so if you are upwards for a French drama with a family unit poor at communication notwithstanding like to ponder emotional meaning, and so this is for you lot.
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Expert but but barely
In the 1990s, Louis (Gaspard Ullilel) is a gay man in his thirties who is a successful playwright in Paris. After a long absenteeism from his family unit, he returns to the small boondocks where he grew upwardly in guild to tell them of a serious health situation. Once there, past family dysfunction is brought to the surface again. The motion-picture show is based on the play by Jean-Luc Lagarce.
The relatives greeting Louis are his female parent (Nathalie Baye), his older brother (Vincent Cassel), his brother's wife (Marion Cotillard) whom he is meeting for the first time, and his much younger sister (Léa Seydoux) who was a child when he last saw her. The best scenes are when Louis is one-on-one with each of the women. Amid them, there is genuine awkwardness that tries, not always successfully, to hide the feelings of abandonment due to Louis' absence.
The scene betwixt Louis and his brother Antoine, yet, is not and then successful. Antoine is in a constant fit of rage and resentment. While Cassel plays the function well (though rather miscast as he is eighteen years older than Ulliel), the characterization feels incomplete.
Information technology'south easy to compare Antoine to the Eddie Maresan character in "Happy Go-Lucky". Only while each are enraged by life, the aroused character is more than hands understood in "Happy Go-Lucky" than in this movie.
In the offset, one might take thought that Louis's being gay was the reason for his estrangement but the family seems okay about this. In that location's no indication of past or present homophobia. It'south most likely the bad relations, particularly those of his brother, that would probably cause anyone to flee.
At that place is much to ponder in this moving-picture show and information technology is very well acted past a fine bandage. It is a good film just could have been much better if the character of Antoine was more explored.
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Nathalie Baye shines
Juste la fin du monde is a play that enjoyed a slap-up bargain of success in the 1990's while the AIDS epidemic was all the same raging. A mother and her two sons and daughter settle down to a long twenty-four hour period of acrimony and recrimination every bit her eldest son Louis returns to the family home after a long absence. So long an absenteeism that he doesn't recognize his sister-in-police Catherine, while his brother sulks and spouts insults towards everyone. The motion picture version makes what I believe is a grave mistake in casting: Vincent Cassel, 50ish, plays Antoine who is the elder blood brother here. Since Cassel is almost 20 years older than Gaspard Ulliel (Louis), and since the first born son is usually the one favoured by his mother, information technology doesn't brand much sense to have Antoine bitching almost his brother's supposed advantages in life. Louis should be the i vehemently protesting the raw deal he got in life.
If nascence order is of no concern to you, I'd like to say that Nathalie Baye gives another superb performance as the mother. She's a gold standard now among French actresses. Lea Seydoux does well as the confused, alone Suzanne. Cassel and Ulliel practice the best they can with their parts.
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French Canadian Life Drama
This is the latest film from Xavier Dolan who continues to surprise with his very human stories. This time he has gone for an 'A list' of French talent. The story is from the phase play of the same name and is about Louis (Gaspard Ulliel 'A Very Long Engagement') who is a successful writer; he has not been home for twelve years and has now only returned to announce that he is dying – only he does non know how to do it.
On arrival at his home he is met past his family, mother, older brother and much younger sis. His blood brother, Antoine, played by Vincent Cassel is a man who seems to have got more than than his fair share of life's anger but has married a shy creature – Catherine – played by Marion Cotillard in a way that she owns the office, it is completely convincing. The whole 24-hour interval is played out in linear format equally the characters stumble into each other always seeming to be on the edge of imploding.
This is not an easy to sentry pic every bit the tension can be uncomfortable but that makes it a improve pic for information technology. This is real 'Arthouse' in that it takes a different path to many that have gone earlier and is becoming a welcomed trademark of Xavier Dolan.
If y'all liked whatsoever of his previous films then you lot are probably already sold on this, if you are new to him then switch off any expectations and let this moving picture seep into your psyche, it will be worth the effort.
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Xavier Dolan's almost disciplined work
While imbued with his trademark flamboyance, 'It's Only the End of the World' is definitely Xavier Dolan'south most disciplined piece of work, in which narrative and moving-picture show arts and crafts function in dazzling tandem. A bold, tense, stylistically daring melodrama performed with thunderous emotions, and packed with explosive performances shot in claustrophobic close-upward.
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Emotional Currents Pull in Different Directions; Masterfully Washed
Sometimes people are further away sitting on the couch beyond from you than they are in a remote woods or city of the world. This is the case for Louis who, afterwards twelve years subconscious away in afar places, is retracing steps and returning home to tell his mother and siblings that he is nigh death. The words do not come up easily. There are minefields of unhealed wounds, distorted memories, grudges and bitterness. Emotional currents pull Louis in different directions. The passions of his relatives, both aggressive and passive, are more than than he was prepared for. Notwithstanding Louis is determined to speak honestly, find forgiveness and become principal of his own life. He is like a wild bird within a building; flying but bewildered and not free.
The magic of this moving picture is in the close-ups and the finely paced and nuanced scenes. They are masterfully done. The actors limited the emotions of the characters then well in their eyes and faces. Sometimes at critical moments no words are expressed and yet the bear upon of this silence is immense. Music eases the transitions between scenes and emotions. Arguments pass similar storms, replaced by calm. I loved the unexpected and moving decision. The film is based on a play and the scenes do non expand very far from 1 business firm.
Before the moving-picture show began, a professor provided an introduction for the audition. He babbled on for most 10 minutes, was walking off the stage and it was left to a New Yorker to remind anybody that this was the winner of the Grand Prix at Cannes. "Hullo!" said the New Yorker "it won the Grand Prix." Seen at the Miami International Movie Festival.
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This family saturates me
Warning: Spoilers
I take finished watching the movie to be able to exercise the review, only for that, only it is that this film is repetitive, it constantly counts the aforementioned and likewise you tin not get empathy with whatsoever of the characters.
They are all great, since they get what they are supposed to pretend, show an unpleasant family and with which I do not retrieve I could stand almost anyone else in a morning.
The problem is that the script is repetitive, information technology counts the same over and over once more. I got bored after a while and I understood the protagonist every bit shortly as I started the film, I did not need so much time to empathise him.
Neither the camera nor the photograph is beautiful, information technology has a white and ugly light and we run into the actors many times of sword with what we can non see them.
If the director does not realize all this, information technology is that the address is non good. He does not know how to narrate, does not know how to etch, yep, he directs the actors well.
The best thing nigh the motion picture, when the credits come out, is that it's over.
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Dissatisfying.
Alert: Spoilers
There's a storytelling technique chosen "Chekhov's Gun" that was founded on the principle to encourage a author'south focus on ensuring there are emotional & thematic pay-offs in a novel / script; the bones summary is this -
"Remove everything that has no relevance to the story. If yous say in the 1st chapter that there is a rifle hanging on the wall, in the 2nd or 3rd chapter it absolutely must become off. If it's not going to be fired, it shouldn't be hanging in that location."
Thus, crafting an entire story around the concept of a terminally ill writer going home after 12 years to confide in his family the news of his diagnosis, teasing that issue & and so backtracking after 90 minutes of build up to this pivotal moment... Is a thwarting & I'm left wondering what was the bespeak in making this lacklustre movie if Xavier had no intention of following through & making good on his promises?
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It would be pretty interesting 20-xxx infinitesimal short moving picture
Canadian-French wonder kid Xavier Dolan is back with a – surprise! – vitriol-filled family drama. A terminally ill guy (Gaspard Ulliel) returns to his rejected shut ones to reveal that he is dying.
Besides starring, Nathalie Baye, Vincent Cassel and Marion Cotillard. It's based on play (by Jean-Luc Lagarce), so information technology's mostly these 4, in the bitter boxing which is called trying to reconnect with the loved ones.
I would say that in its electric current form, information technology would be pretty interesting twenty-30 minute short movie. But it's stretched onto 97 minutes. The makers take cared little about building the mood or letting the text breathe and find it's natural footstep, and then the story never really becomes watchable.
The first near 25 minutes are actually almost unbearable – just fighting and insults. No rhythm or rhyme to this not-stop viciousness, and they don't say near anything remotely interesting. Which is kind of the point of (this part of the) story, but still wears you down. Exist honest and say that it didn't.
Essentially, the movie is non nigh relations at all but a symbolistic overview of accepting one's death – or human being's fearfulness of decease, which some would say is our master motivational force behind everything.
Every family unit fellow member represents a different stage of grief which rises from knowing at that place's no escape from the inevitable. And different parts of the story play the process through.
Written similar that, information technology sounds intriguing. And it is, conceptually. But for me, the makers have constitute simply nigh the well-nigh tiresome approach to unravel it. Still, I similar the artsy interludes and the terminate scene.
This is the first Dolan movie I've seen, and information technology certainly arouses interest for his previous work – information technology's the sixth full-length movie written and directed past him, and the dude is only turning 28 past the end of the month!
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Life in a twenty-four hours
Xavier Dolan, where accept you been all my life? They say your latest moving-picture show isn't as dandy equally your previous ones, just it blew me abroad. TALENT.
The interim. The music, original and non-original, and the manner it is used so perfectly. The flash-backs, and the dazzler and power in them. The dialogues. That feeling of wanting to say I love you lot, merely I tin can't stand you - and soon we will never see each other once again.
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Irritating phase play
More than like a stage play than a movie, about an extremely unlikable family. I wouldn't want to spend more than one minute in the company of any of them. All they do is shout at each other. I'g non surprised that Louis never visited them. Whether yous watch this to the end or not depends on your tolerance for screaming idiots. My advice is ... don't.
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Hugely Disappointing
Warning: Spoilers
I bought this movie very largely on the ground of the IMDb rating of 7.0. I find that, in almost every case, the score on IMDb is well-nigh ever very close to the blind score that I requite a motion picture after I've watched it (having forgotten the rating on IMDb). I guess all this shows is that I take quite "average" gustation in movies.
I expected that I would similar this movie and, in some respects, I did. The interim was by and big quite first-class, the cinematography was wonderful, every shot being beautifully framed, the script and the dialogue were also excellent. Merely, hither's the affair. Rarely does a movie then desperately miss getting to the bloody betoken.
Immature Louis came home to tell his family unit that he was dying of some unspecified disease and among all the bitching of arguing amongst his appalling family, he never gets around actually to telling them. I retrieve I can understand this. Given the utter awfulness of his family, especially the maniacal brother Antoine, I call back I might have been inclined in the cease to give them all the finger and a departing greeting forth the lines of "F**one thousand you all" simply this really didn't work in the context of a movie where then much more was expected.
For the record, I expected an emotional nigh face afterwards Louis told his bloodcurdling family that he was dying but we never even got well-nigh there.
The whole motion picture was MOST unsatisfying and I'chiliad afraid it's very unlikely that I'll ever bother to spotter information technology again. It'll sit in my drove gathering grit and I'll probably forget I ever watched it in a few months; at least I hope and so.
Don't waste your fourth dimension on this ane. It wasn't actually all that bad but I take rarely before been so utterly disappointed by whatever picture.
JMV
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Acme talent grinding information technology out
How tin can a film with Marion Cottillard, Vincent Cassel, and Léa Seydoux be and so nail-gratingly annoying?
Ughhhhhhhhhhhhh. I wanted to scream. And not in a expert way. Gaspard Ulliel plays Louis, a successful write who returns habitation after 12 years offing away with almost no advice, to tell his family that he has a terminal illness. The film is well-nigh how his absence, and the family'south imagining of him, has affected all of their lives. What it amounts to is an hour and a one-half of malaise and bitterness, whining and hesitation. Ugh.
Louis' older brother (Cassel) refusing to feel any joy lest his acrimony dissipate. His younger sis (Seydoux) has imagined a dream version of Louis she both idolises and resents. His sis-in-police (Cotillard) is the most sympathetic but fifty-fifty she is mistrustful of Louis' return. Rounding out the cast is Nathalie Baye as the family matriarch who turns to Louis to cure the curdled bonds within the family unit.
What grates is the lack of insight into what it was that has caused Louis to leave for and so long. The brief flash-back glimpses we get of his pre-leaving-dwelling house life seem happy enough, and the horror-show that is his family now has been caused by his absenteeism. There's something to be explored here almost what we owe our family, almost the residuum nosotros have to strike between honouring the familial bonds, and look gin after ourselves, about needing to get away from toxic situations fifty-fifty if you love the people you leave behind, but the motion picture is not interested in any of that - information technology wants only to wallow in how horrific the homecoming is. Nosotros learn cipher of why Louis is so desperate to stay away; so desperate in fact that he has done zilch more ship postcards with 2 or 3 words on them for years, so desperate that he does not desire his mother to know his address. We tin throw out guesses; his homosexuality? His artistic temperament? But the movie won't so much as glance in that direction. Home is toxic; that'due south all information technology wants you to know.
The main character is so blank as to exist without a character. He is silent for much of the flick. Many scenes are shot largely in close-upwards, rendering everything claustrophobic, but Louis does no more than look sick, and give a wan grin. An early exchange of looks between Cotillard and Ulliel gave me hope in that location was some understanding between them that would yield some insight or drama, but nothing.
Cassel is asked only to be angry throughout. Seydoux only anxious. Cottilard merely nervous. Baye, at least, is asked to do a lilliputian more than; only even she seems to see her son only every bit a way to fix her other 2 children.
Perhaps at that place is something to exist gleaned here for those whose home life is truly toxic, peradventure this functions as a sort of acknowledgement that sometimes you shouldn't go abode again, but for me, this was a grind.
This was the first film I have seen written and directed past Xavier Dolan. I would never write anyone off (at that place's e'er hope!), simply it may exist some time before I venture into Dolan's firm over again.
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Performance-driven salvation
I retrieve it'due south cute when creators explain more in shadows and silences than in dialogue and obvious visual cues. In that location is true brilliance to exist found in the hidden and the unsaid; oft, the truth comes in subtle ripples than in galvanized waves, and it's exceptional to come up beyond true masters of the arts and crafts who are willing to respectfully handle such an intricate technique without becoming boring and overbearing.
Regrettably, such is non the case here.
Dolan tries to sweep us off our feet with anthropocentric framing and a flowing stream of ethereal brushings of colour and emotion, something he does well, I can't deny him that. In the meanwhile though, he seems to be neglecting the bodily plot which is painfully lacking on and so many points, this pic is rendered into nothing more than a neophyte's try at a college- level, arthousy projection.
Fortunate that the entirety of the cast is strong enough to redeem this endeavour by generously depositing spiritful performances, thankfully seeming to overcome the dire facts that the writing is listless, the plot is fallow, and the whole pic seems painfully mannered and conditional. Then much so, that the viewer is bound to be left confused and, at times, attacked by the drip-fed, self-folding, monotonous interactions that ultimately serve to dress the movie with no pragmatic value at all.
In aiming for elegance and allure, Dolan fails to dish out a well-founded, coherent film, leaving united states of america with nothing more than than an unprogressive legend that tiptoes forth the verge of deforming from 'suspended' to 'backwards'. And all very chaotically wrapped in out-of-place musical choices, non enhancing just rather debasing the scenes, pulling the viewer out of the experience in flabbergasted centre-rolls.
My signal of view: Overlooking the feeble dialogue, overall repetitiveness, plot stagnancy and forced emotive filming techniques, I rather enjoyed the performances -- and here is where I charge per unit this. It'south Only The End of the World is a lifeless attempt, devoid of any true passion and it could have very hands cleaved downward into oblivion the moment the finish titles started rolling - if it weren't for Vincent Cassel'south very last scene which, yet again, validates him as ane of the Greats.
Lucky for me I volition always accept that to recall.
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Everybody's drama is understandable, just not touching at all
Dolan's Mommy (2014) shattered me to pieces, so I was expecting something similar to happen, merely nah. In the hope that maybe this terminal time something will modify, a guy tries to announce to his estranged family that he'south dying. Everyone stays absorbed in their ain spectacle though, so nosotros merely go the risk to come across how he supposedly has influenced the lives of the others. A great thought really, which reminded me a flake of Lanthimos' Alps, but the execution left me emotionless. The monologues are truly awkward and fifty-fifty though I sympathize that their purpose is to underline that everybody cares only about themselves, I however think the message could be conveyed more naturally. Moreover, no one is so cocky aware, not even the French speakers. I like how he gradually deteriorates during the "happy" family reunion though; it's like he'south sick from the very negligence of his relatives and the bigger it gets, the sicker he looks. Everybody else's drama is also very understandable, simply non touching at all. Maybe because I too do care only about myself. Hm. Food for thought.
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It's Dolan. It's drama.
A man who comes to announce his death to his family who he hasn't seen in yr'southward doesn't happen due to family unit problems. The film is a little banal simply ok, notwithstanding i enjoyed Marion Cotillard as ever.
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Hopeless
Warning: Spoilers
I think the picture is trying to convey something which I'm non intelligent enough to understand. The guy comes to tell that he is dying but everybody behaves strange. I'k not sure if this is what normal people would talk if someone comes home after 12 years. At the end I feel the blood brother knew and that'due south why he behaved that way. At least that'south what I understood. I did non sympathize the shot about the bird in the stop. I recollect this picture is not for dumbos like me.
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Practiced technique, good themes, somewhat tiresome.
Alert: Spoilers
I might have given this a higher rating if I didn't think that in the end, despite skillful actors, good and somewhat provoking cinematography, it didn't end up being a bit wearisome, and repetitive.
Near of the film is made up of people yelling at each other. this is not pointless yelling though.
the movie opens with the chief grapheme saying he wishes to impale himself to show that he can remove master of his ain destiny. he wants to tell this to his family. seeing his family, everyone's dissimilar reactions - sad and melancholic (the sis who doesn't know him), simply glad (the female parent who loves him), angry and lost (the brother who missed him) and not knowing (his brother'southward wife). he realizes that he is non only master of his own life, just also master of other peoples' lives. it ends with a shot of a bird - bird of freedom - dying.
this is of course my interpretation, just I think it's overnice. it goes against the usual vision of "you are never free, because everyone else and everything else impacts you". hither "y'all can be free yourself, but other people are nether your sphere of control / influence".
Every character is a fleck stereotypical, just again, it's with a signal, and then it'due south not bad. dialogues weren't bad, and of grade the script writing uses the always very overnice trick of not giving you much data, leaving you lot attentive and hungry for details.
However most of the films remain yelling. a lot of shots are kind of long, and when it came to thinking how much I enjoyed the film, I call up I will remember yawning more thinking. I don't regret seeing this movie at all, but I don't recall I would necessarily watch it again.
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Source: https://www.imdb.com/title/tt4645368/reviews
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