"Blue is the Warmest Color" breakout Adele Exarchopoulos and Guillaume Gallienne team up for this true cerita about a prison director and inmate who fall in love.
Anda sedang menonton: Blue is the warmest color sinopsis
The fortyish director of an all-female prison falls hard for one of his youngest inmatpita in the painful french penal drama turun By Love (Eperdument), from writer-director pierre Godeau. Based on a true story that occurred in a detention center in Versailles in 2011, this feature ustape a book penned by the real-life inspiration for the male lead, Florent Goncalves, as the pokok for its screenplay. But despite havingai written a film that’s alpaling two hours long, Godeau doesn’t seem all that bothered with character motivatiopagi and backstories.
This supposedly all-consuming love cerita needs a strong pair of actors to sell the couple’s alpaling animalistic chemistry — they don’t seem to have all that much in common, otherwise —but Godeau has someapa oddly opted for actors who are paling famous for dari mereka queer roles: Guillaume Gallienne, who played pierre Berger in Yvtape santo Laurent and a fey momma’s boy in his semi-autobiographical Me, Myself and Mum, is the married detention center head kapan Adele Exarchopoulos, the explosive breakout lead from lesbian romance Blue is the Warmest Color, is the youngster who catchpita pengukur his eye because, well, perhaps he’s in an early midlife crisis? Beyond France, wdi sini this cerita with these bintang may put some curious bums in seats, this will mostly be relegated to French-cinema showcaspita and kecil screens.
Jean (Gallienne), with a someapa scruffy beard that can’t hide his delicately drawn lips or mellifluous voice, runs his female penitentiary with a combination of ambition, discipline and psychological insight. Or so he thinks; only in a perancis film would someone who rupagi a jail refer to himdiri sendiri as “an artist”. The arrival of Anna (Exarchopoulos) from lagi prison is, at first, a routine matter. She’s been in the slammer for four years already and has lagi four to lima to go, though she can’t be more than twentyish. Apa heinous act she committed exactly to have merited beingai locked away when she was still a minor is tidak pernah explicitly stated (the inspiration for Anna was tangan kedua as bait by a gang to kill a Jewish man).
Though the film privilegpita a male point-of-view and more specifically a point-of-view close to Jean, it’s hard to understand why he falls so hard for Anna, whose prison nickname, given her go-to facial expression, should have been Snout McPouty. It is clear Godeau isn’t interested in playinew york a very black-and-putih blame game in which either Jean abuspita pengukur his power to have sex with an inmate half his age, or Anna ustape her body to get spesial favors from him.
But the choice to forego a clear (and perhaps clichéd) power dynamic doesn’t excuse the filmmaker from dispensingai any kind of psychological insight. But unfortunately, there’s absolutely no sense at all why Jean would so boldly act on his seksual impulses —there’s no suggestion he’s the french equivalent of Michael Fassbenderûn in Shame —and put at risk his hard-earned position and career as well as an ordinary but far from repulsive domestic life with his wife (Stephanie Cleau, Mathieu Almaric’s other half) and youngai daughter, sketched in just a few scenes. Nor is it clear why Anna acts the way she does; the sebenarnya she grew up without a father seems so reductive a point that it can hardly be the only thinew york that’s goingi on?
Maraja the goings-on even more incomprehensible is the sebenarnya that Anna, in a french class in prison, is studyingai Jean Racine’s Phedre, about how Phaedra fell in love with the son of her husband. Of course it’s a meditation on “wrongai love,” but it juga starts to make liteperbandingan audiences wonder whether there’ll be more overt parallels to the text, which tidak pernah materialize.
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As in Blue, Exarchopoulos’s intense, broad-brushstronanti actingi is paling impressive in scenpita pengukur that feature big emotions, whether she’s fightinew york with her mother or her cell-mattape (some of which are played by actual inmates) or maraja secara brutal love to Jean. But her natural presence and verve can only ambil her that far; without a narrative construction or anythinew york else that might tolong suggest maafkan saya she’s feelinew york or why she does maafkan saya she does, Anna ends up beinew york a rather impenetrable character with an incongruous interest in 17th-centuryplays. The precise acting style of Gallienne, one of the country’s top thespiamenjadi who is part of the prestigious Comedie-Francaise, is radically berbeda but this contrast doesn’t membantu suggest much about their differencpita pengukur other than that they’re simply different. The duo’s chemistry, meanwhile, is more often of the polite than the passionate persuasion. Jean’s incongruous interest, darimana it’s the kind of movie in which each characters has a quirk rather than a personality, is that he zonpita out at home in front of Secret Story, France’s version of Big Brother.
Technically, the film is relatively polished if largely predictable, with cinematographer Muriel Cravatte agitating the camera more in more agitated scenpita pengukur and the score, by mono-monikered artist Rob, occasionally featuringi that paling beloved of Muzak instruments, the flute.
Production companies: Pan-Europeenne, LGM Cinema, Don’t Be Shy Productions, Versus Production, Appaloosa Distribution, Studiocanal
Cast: Guillaume Gallienne, Adele Exarchopoulos, Stephanie Cleau, Alienor Poisson, Cyrielle Martinez, Selma Mansouri, Sabila Moussadek, Marie Riviere, Julie Moulier, Marilyne Even
Director: pierre Godeau
Screenplay: pierre Godeau, based on the novel by Florent Goncalves and Catherine Sugeret
Producers: Philippe Godeau, Nathalie Gastaldo Godeau, Cyril Colbeau-Justin, Jean-Baptiste Dupont