Frustratingly, the trans character is treated like one of many family scandals, a dirty secret to be revealed. She is treated briefly as a punchline and played by a cis man (as far as I can tell). There's also a scene where it seems like the film is using the old trans-women-clothing-fetish cliche. It also seems to shame someone with HIV, though this is a bit murkier a portrayal--it is a little more sympathetic than it seems at first, but…

Family, friends and lovers of an artist gather in the French town of Limonges to attend his funeral, an event that causes the conflicts between them to come to the surface and intensify. Ceux qui m'aiment prendront le train is a tense and visceral drama about people slowly revealing existential angst, a portrait of personal relationships and contemporary life at the turn of the last century. Patrice Chéreau has crafted an ambitious piece with a good first act and fantastic…

As a camera whirled about a subway station, crashing into its subjects–time against space uncontrollable–the sound of Tracy Thorn singing "Better Things" contra uncorrelated voiceover destroyed me, and I turned it off as quickly as it came on. You're so beautiful, it hurts to look at you, I thought, like Angela Chase.

But day destroys night, night divides the day, and finally, years later, I watched this, the prickly twin to Guiguet's Les passagers, all the way through to the…

Messy French people being horrible to each other makes for a challenging family drama. Ultimately more interesting than entertaining due to the array of disorienting techniques that director Patrice Chéreau uses, including the simultaneous introduction of multiple characters, densely layered sound and music, close-in camerawork, staccato editing, and minimal exposition. The downside here is that conveying emotion takes a backseat to technique. I don’t doubt that the characters feel things strongly, but more context would help the viewer get there…

quelques scènes stylees, le début notamment et intéressant de tourner dans un train ça donne un dynamisme et une tension au film

dès qu'on en sort c prodigieusement ennuyeux au point que je croyais qu'au bout d'une heure le film était fini. Il aurait dû en rester la.

On comprend rien du début jusqu'à la fin, trop de personnages, des relations inhabituelles entre eux et qui ne sont pas explicitees. Ya deux personnes dont on ne connait tjrs pas le…

Some things which particularly moved me:

1. A group of mourners on their way to a funeral aboard a train, who are suddenly awakened by the child among their number to the fact that the coffin containing the body of the man they’re going to bury is being visibly bourne alongside the train by a car on the highway. Epiphanic.

2. A love scene in the same train’s bathroom compartment between two men which is so ambivalent and vulnerable in…

The primal appeal of The Big Chill given operatic, cinematic largesse through unencumbered Cinemascope as art-hounds-on-the-brink descend upon Limoges for their maestro's funeral, where hetero-couplings get tested, transgender identity confounds then conveys universal longings, and the proposal to live life imaginatively in the age of AIDS for a gay-male love triangle-each actor like marble chiseled by light-climaxes in one of the top 5 most awesome movie endings-an angel's eye view that breaks boundaries and defeats death (R.I.P. Patrice Chereau, whose…