Realização:
Sylvain ChometArgumento:
Sylvain ChometCâmara:
Antoine RochElenco:
Guillaume Gouix, Anne Le Ny, Bernadette Lafont, Hélène Vincent, Cyril Couton, Jean-Claude Dreyfus, Luis Rego, Fanny Touron, Kea Kaing, Vincent Deniard (mais)Conteúdos(1)
Paulo, trintão, vive no seu apartamento parisiense com as tias, duas idosas aristocratas que o educaram desde bebé e que sonham vê-lo transformar-se num exímio pianista. A sua vida resume-se a uma rotina quotidiana, entre o piano da sala e a aula de dança das suas tias onde trabalha como acompanhante. Isolado do resto do mundo, Paul envelhece sem nunca ter realmente vivido... Até ao dia em que encontra a senhora Proust, a sua vizinha do 4° andar, uma mulher excêntrica. Com ela, Paul vai finalmente viver a sua vida. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (5)
Críticas (3)
A beautiful, well-made French film in the vein of Amélie. Here, however, the focus is on the character of Paul and Attila Marcel. He and the beautiful shots of both the real and the dream world are mixed in such an exquisite manner that it will make you fall head over heels for the actor playing Paul. Guillaume Gouix is really great and believe me, once you learn what’s what in the film, you’ll be really looking forward to the ending. In fact, not only looking forward, but also impatiently anticipating the denouement. And you can count on it not to disappoint you in any way. This melancholically beautiful story was something I simply couldn’t pass on.
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Such is the French fairy-tale fantasy set in the present real world, which seems to be a continuation of "Amelie" but lacks such a strong story, only a few fairly good ideas and occasionally an interesting character who can captivate with their behavior, demeanor, or simply something. Overall, it's not that good.
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Unfortunately, I've seen too much in my lifetime cinematically to be much taken in by a conciliatory human comedy about the clash of canned ossification and independent vibrancy within the space of a single house and a park. Moreover, in such a conciliatory form, with its timid attempts at humor that give the impression they were written during filming and the actors weren’t too enthralled. The potential for comedy was exhausted for me at "fuck le menuet"; the potential for poignant drama had been exhausted some years prior. But the opening shot is great.
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