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…
The second half isn’t as good as the first half (and not just because of the poorly written and performed trans character) but messy French ensemble drama is still a genre that will usually get me.
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…
Bodies and movement, a historical trajectory through acummulation of gestures. Organized by Chereau as sort of musical without singing, just people playing through waves of emotion. Not all of this works (the trans character played by Perez in particular), but as a large taking into account of Chereau's generation and an attempt to find a symphonic emotional texture out of it this is always impressive and the quality of the large ensemble action remarkable throughout.
Many men and many women on the verge of many mental breakdowns.
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…
By all accounts, a rare ensemble piece in Chéreau's oeuvre which exhilarating captures the internal crises and chaos of its characters. Visually kinetic and dramatically volatile, the film centers around a group of friends and more who come together after the death of an eccentric, charismatic painter they all once admired. Great cast, terrific music, and a strong and powerful story.
Fun fact : j'ai regardé ce film dont la première partie se passe dans un train allant à Limoges alors que j'étais dans un train allant à Limoges et lorsque dans le film, le train s'est arrêté à la souterraine, ce fut le cas pour mon train aussi.
(Ouais je suis d'accord avec vous, le fun fact n'était pas si fun mais j'avais rien de mieux à proposer, désolé de vous avoir fait perdre votre temps, pour toutes menaces de mort, veuillez me les faire parvenir en message privé par twitter ou Instagram trouvable sur mon profil)
C’est un peu un Desplechin mais version lgbt
moi qui cherche un film où valeria bruni-tedeschi joue un personnage sain d’esprit…
chereau point faible : trop fort en direction d’acteur, y’a 45 personnages ils sont tous bien écrits, et très bien joués (surtout dominique blanc ma reine jtm)
juste man les plans de fin et les musiques : fo pas le laisser aux manettes le loulou est un peu dans l’abus, mais chereau reine sinon
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…