list http://www.spout.com/ Recent community activity around I've Loved You So Long... on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/I_ve_Loved_You_So_Long/363603/default.aspx Title: I've Loved You So Long...
Year: 2008
Director: Philippe Claudel
Plot: Their relationship fractured when older sister Juliette is sentenced to 15 years in prison, two siblings wage an emotional battle to rebuild their relationship, overcome the secrets that keep them apart, and finally express the thoughts that have lain dormant for well over a decade. The moment Juliette was convicted, her parents declared that they wanted nothing to do with her. Now, after 15 years behind bars, Juliette is a free woman and in desperate need of a human connection. When Juliette's younger sister, Léa, is approached by a prison social worker and asked if she would be willing to provide her recently paroled sibling with a place to live, she doesn't hesitate to open her doors and share her home. But Léa is happily married with two adopted daughters, and her husband, Luc, is uneasy with the arrangement. Still, the house is large, the couple is used to having company, and the two young girls are thrilled to have a new aunt. As Juliette gets settled, Léa does her best to make her feel welcome. Likewise, Léa's colleague Michel and emigrant couple Samir and Kaïsha also offer to help Juliette readjust to life on the outside. Along the way, Juliette slowly begins to emerge from her shell and Léa realizes just how much she missed her sister. Perhaps if she can put aside her feelings of guilt long enough to truly understand her sister's plight, these two strangers can finally remember what it means to be family.
Times Tagged: 31
Number of Lists: 7
Number of blog posts: 10
SpoutRating: 4
]]>Fri, 31 Jul 2009 08:42:19 GMTI've Loved You So Long...2008Philippe ClaudelTheir relationship fractured when older sister Juliette is sentenced to 15 years in prison, two siblings wage an emotional battle to rebuild their relationship, overcome the secrets that keep them apart, and finally express the thoughts that have lain dormant for well over a decade. The moment Juliette was convicted, her parents declared that they wanted nothing to do with her. Now, after 15 years behind bars, Juliette is a free woman and in desperate need of a human connection. When Juliette's younger sister, Léa, is approached by a prison social worker and asked if she would be willing to provide her recently paroled sibling with a place to live, she doesn't hesitate to open her doors and share her home. But Léa is happily married with two adopted daughters, and her husband, Luc, is uneasy with the arrangement. Still, the house is large, the couple is used to having company, and the two young girls are thrilled to have a new aunt. As Juliette gets settled, Léa does her best to make her feel welcome. Likewise, Léa's colleague Michel and emigrant couple Samir and Kaïsha also offer to help Juliette readjust to life on the outside. Along the way, Juliette slowly begins to emerge from her shell and Léa realizes just how much she missed her sister. Perhaps if she can put aside her feelings of guilt long enough to truly understand her sister's plight, these two strangers can finally remember what it means to be family.31Tag Target (>10)7104http://www.spout.com/ProductImages/s363603.jpghttp://www.spout.com/films/I_ve_Loved_You_So_Long/363603/default.aspxFilm http://www.spout.com/blogs/jimbell/archive/2009/7/31/43346.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 7/31/2009 4:42:19 AM
Body: I’ve Loved You So Long (2008; France) is the story of how a woman released from prison after serving 15 years for a shocking murder slowly rehabilitates and fits back into society. Crucial to the process is her younger sister, Lea, who has to undergo some changes herself. The main challenge the movie has to meet is how to get us excited about a woman who is clinically depressed, who is often described as not being there. It’s tough to make an interesting film about someone who isn’t interested in anything. I’ve Loved You So Long attempts to stimulate our interest in two way. One: Great acting by Kristen Scott Thomas as Juliette. Ironically, if she had acted sort of depressed, or depressed with suppressed energy, or lively but depressed about certain things, she would probably have been insufferable. But Juliette starts the film so seriously depressed that every fibre of her being is lifeless, even a puff on a cigarette perfunctory. Strangely, this is interesting. I started to ask how she got so depressed, how long would she remain like that, and would characters get sick of her even before I? But, two, Juliette begins to change in fits and starts. This is an interesting process, even when she has relapses. I don’t actually know how realistic this process is, but it feels realistic. Unfortunately, few actors support Scott Thomas’s superb performance. When Juliette goes to her first job interview, the working class boss dismisses her when she admits to murder, but his response is formulaic and perfunctory. Although the scene initially builds his character as a busy, no-nonsense guy, his reaction to Juliette is to make a plot point that ex-cons have a difficult time getting a job. He could have looked startled and said, Why did you do it!? Or he could have looked business-like and said, You won’t fit into our operation. But he says unconvincingly, Get out! Another example? Much later in the movie, Juliette is participating in one of those friends-get-together-in-a-villa parties the French seem to love, when the inebriated host turns on Juliette at the dinner table. He is supposed to be drunk but does not sound or act drunk. His dialogue is convoluted and fakey as it wends its way to challenging Juliette to reveal her background. It’s just not the stuff I imagine as realistic, and the speech could be written more convincingly by many. More importantly, the sister, Elsa Zylbe4rstein, is excellent in the upbeat scenes but artificial in some of the serious scenes. When she picks Juliette up from the lonely airport, she is vivacious and engaging when she gives a bemused 4-sentence summary of her life over the last 15 years. You like this perky young woman. In contrast, the “heavy” scenes are strained. For example, when Juliette finally talks about her crime, Elsa Zylberstein plays the scene paint-by-numbers—no natural reaction, so spontaneity, no natural body language, etc. You start to watch the poor acting rather than the scene. At the same time, some actors turn in excellent performances. Lea’s oldest daughter is perfectly appropriate for parents who are both professors. And Juliette’s probation officer (Frederic Pierrot) shows his veteran chops by presenting a perfectly believable cop on the edge. But even if all the acting and all the dialogue had been excellent, the plot would still have been disappointingly predictable. Do you think the depressed murderer will lighten up? Duh. Do you think “talking about” the crime will turn things around? Duh. Do you think that she will move out of her sister’s into a place of her own? Duh. Do you think her sister’s husband will eventually allow her to baby sit? Duh. Most important, do you think that her murder will turn out to have major extenuating circumstance? Duh! There is one aspect of the movie that was not predictable for me, and it was the strong point. Juliette’s parole officer was an eccentric guy who wanted to talk about himself more than listen to her. Yet he skimmed over talk of his ex-wife and how she sent the children for visits like parcels. He talked of fountains, water, and the Orinoco River. Then he quietly shifted meetings to cafes, rather nice cafes. There is a very nice scene where he is trying to get personal but he and Juliette simply do not connect,. I’m not sure why, but I think they are too involved in their own little dramas. When Juliette next reports, a new cop briskly tells her to sign and get visit over with. Juliette’s original parole officer has shot himself. Juliette goes home and lies on the bed. One of the drawbacks of movies is that we do not know what she is think. I guess you could say one of the strengths of moving pictures is that we have to guess what she is thinking. I’m guessing it was a turning point for Juliette. She had completely missed his requests for love because she was so tied up in her own ‘problems” and so sure everything in the world was worthless. This whole episode—a minor character unexpectedly kills himself—is the strongest part of the film because it eschews the stereotypical plot.
]]>Fri, 31 Jul 2009 08:42:19 GMTJimBellJimBell Blog7/31/2009 4:42:19 AMI’ve Loved You So Long (2008; France) is the story of how a woman released from prison after serving 15 years for a shocking murder slowly rehabilitates and fits back into society. Crucial to the process is her younger sister, Lea, who has to undergo some changes herself. The main challenge the movie has to meet is how to get us excited about a woman who is clinically depressed, who is often described as not being there. It’s tough to make an interesting film about someone who isn’t interested in anything. I’ve Loved You So Long attempts to stimulate our interest in two way. One: Great acting by Kristen Scott Thomas as Juliette. Ironically, if she had acted sort of depressed, or depressed with suppressed energy, or lively but depressed about certain things, she would probably have been insufferable. But Juliette starts the film so seriously depressed that every fibre of her being is lifeless, even a puff on a cigarette perfunctory. Strangely, this is interesting. I started to ask how she got so depressed, how long would she remain like that, and would characters get sick of her even before I? But, two, Juliette begins to change in fits and starts. This is an interesting process, even when she has relapses. I don’t actually know how realistic this process is, but it feels realistic. Unfortunately, few actors support Scott Thomas’s superb performance. When Juliette goes to her first job interview, the working class boss dismisses her when she admits to murder, but his response is formulaic and perfunctory. Although the scene initially builds his character as a busy, no-nonsense guy, his reaction to Juliette is to make a plot point that ex-cons have a difficult time getting a job. He could have looked startled and said, Why did you do it!? Or he could have looked business-like and said, You won’t fit into our operation. But he says unconvincingly, Get out! Another example? Much later in the movie, Juliette is participating in one of those friends-get-together-in-a-villa parties the French seem to love, when the inebriated host turns on Juliette at the dinner table. He is supposed to be drunk but does not sound or act drunk. His dialogue is convoluted and fakey as it wends its way to challenging Juliette to reveal her background. It’s just not the stuff I imagine as realistic, and the speech could be written more convincingly by many. More importantly, the sister, Elsa Zylbe4rstein, is excellent in the upbeat scenes but artificial in some of the serious scenes. When she picks Juliette up from the lonely airport, she is vivacious and engaging when she gives a bemused 4-sentence summary of her life over the last 15 years. You like this perky young woman. In contrast, the “heavy” scenes are strained. For example, when Juliette finally talks about her crime, Elsa Zylberstein plays the scene paint-by-numbers—no natural reaction, so spontaneity, no natural body language, etc. You start to watch the poor acting rather than the scene. At the same time, some actors turn in excellent performances. Lea’s oldest daughter is perfectly appropriate for parents who are both professors. And Juliette’s probation officer (Frederic Pierrot) shows his veteran chops by presenting a perfectly believable cop on the edge. But even if all the acting and all the dialogue had been excellent, the plot would still have been disappointingly predictable. Do you think the depressed murderer will lighten up? Duh. Do you think “talking about” the crime will turn things around? Duh. Do you think that she will move out of her sister’s into a place of her own? Duh. Do you think her sister’s husband will eventually allow her to baby sit? Duh. Most important, do you think that her murder will turn out to have major extenuating circumstance? Duh! There is one aspect of the movie that was not predictable for me, and it was the strong point. Juliette’s parole officer was an eccentric guy who wanted to talk about himself more than listen to her. Yet he skimmed over talk of his ex-wife and how she sent the children for visits like parcels. He talked of fountains, water, and the Orinoco River. Then he quietly shifted meetings to cafes, rather nice cafes. There is a very nice scene where he is trying to get personal but he and Juliette simply do not connect,. I’m not sure why, but I think they are too involved in their own little dramas. When Juliette next reports, a new cop briskly tells her to sign and get visit over with. Juliette’s original parole officer has shot himself. Juliette goes home and lies on the bed. One of the drawbacks of movies is that we do not know what she is think. I guess you could say one of the strengths of moving pictures is that we have to guess what she is thinking. I’m guessing it was a turning point for Juliette. She had completely missed his requests for love because she was so tied up in her own ‘problems” and so sure everything in the world was worthless. This whole episode—a minor character unexpectedly kills himself—is the strongest part of the film because it eschews the stereotypical plot. http://www.spout.com/blogs/cinemarian/archive/2009/4/6/41462.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 4/6/2009 12:34:31 AM
Body: The first thing we notice is the face of Kristen Scott Thomas. She is a beautiful woman, and still is, but there is something in that face of extreme pain. It is as if all of the life and happiness has been sucked out of it. It is a face that not only lacks joy but seems to negate the possibility of it. Her character is named Juliette, and she sits at an airport terminal waiting for someone to come. That someone is her sister, Lea, played by Elsa Zylberstien. Lea hasn’t seen her sister for fifteen years, when she was a child, but there is only the most basic level of recognition at the reunion. For Juliette, there is no reason for anything anymore. The movie works simultaneously as a drama and mystery, as we slowly find out what the characters know about what happened and what led to this reunion. Most everyone walking into the picture will know that Juliette has spent the last fifteen years in prison, but the crime itself and that motive behind are revealed slowly. Because we do not know this information, we judge Juliette slowly. It is not so much that she has no social skills as it is that she chooses not to use them. There is no reason for her to do so, no society for her to believe in. She is intelligent, educated and articulate, but has nothing to say to anyone. Lea, on the other hand seems to have everything- with kids and a loving husband, Luc (Serge Hazanavicius). What makes the picture so interesting (and moving) is that Lea loves her sister unconditionally. She believes that no matter what she did, she has not done anything beyond understanding or forgiveness. This is the central conflict of the film. One sister wants to recall the other to life, and the other has forgotten that there is any purpose in living. The acting in this film is superb, but Scott Thomas is outstanding. Setting aside the fact that nearly all of her dialogue is in a second language she manages to show us the utter darkness that her character lives in without ever becoming manipulative. Zylberstien must also be complimented for playing a part that could have easily become maudlin without a trace of Robin Williams- like manipulation. Although an excellent movie, there are a few flaws. There’s a rather ridiculous pastoral montage in the middle of the film that belong in another movie, and occasionally the screenplay (by director Phillipe Claudel) seems a bit contrived and lays on its points a bit obviously, especially in the subplot involving Juliette’s parole officer (Frederic Pierrot). But overall, this is a moving picture about one person who knows, just knows, her sister is a person worthy of love and respect, and another who cannot conceive that anyone could feel that way. I've Loved You So Long...(2008)
]]>Mon, 06 Apr 2009 04:34:31 GMTCinemaRianCinemaRian Blog4/6/2009 12:34:31 AMThe first thing we notice is the face of Kristen Scott Thomas. She is a beautiful woman, and still is, but there is something in that face of extreme pain. It is as if all of the life and happiness has been sucked out of it. It is a face that not only lacks joy but seems to negate the possibility of it. Her character is named Juliette, and she sits at an airport terminal waiting for someone to come. That someone is her sister, Lea, played by Elsa Zylberstien. Lea hasn’t seen her sister for fifteen years, when she was a child, but there is only the most basic level of recognition at the reunion. For Juliette, there is no reason for anything anymore. The movie works simultaneously as a drama and mystery, as we slowly find out what the characters know about what happened and what led to this reunion. Most everyone walking into the picture will know that Juliette has spent the last fifteen years in prison, but the crime itself and that motive behind are revealed slowly. Because we do not know this information, we judge Juliette slowly. It is not so much that she has no social skills as it is that she chooses not to use them. There is no reason for her to do so, no society for her to believe in. She is intelligent, educated and articulate, but has nothing to say to anyone. Lea, on the other hand seems to have everything- with kids and a loving husband, Luc (Serge Hazanavicius). What makes the picture so interesting (and moving) is that Lea loves her sister unconditionally. She believes that no matter what she did, she has not done anything beyond understanding or forgiveness. This is the central conflict of the film. One sister wants to recall the other to life, and the other has forgotten that there is any purpose in living. The acting in this film is superb, but Scott Thomas is outstanding. Setting aside the fact that nearly all of her dialogue is in a second language she manages to show us the utter darkness that her character lives in without ever becoming manipulative. Zylberstien must also be complimented for playing a part that could have easily become maudlin without a trace of Robin Williams- like manipulation. Although an excellent movie, there are a few flaws. There’s a rather ridiculous pastoral montage in the middle of the film that belong in another movie, and occasionally the screenplay (by director Phillipe Claudel) seems a bit contrived and lays on its points a bit obviously, especially in the subplot involving Juliette’s parole officer (Frederic Pierrot). But overall, this is a moving picture about one person who knows, just knows, her sister is a person worthy of love and respect, and another who cannot conceive that anyone could feel that way. I've Loved You So Long...(2008) http://www.spout.com/blogs/wonga/archive/2009/2/2/40140.aspx Post By: wonga
Post To: wonga's filmblog
Post Date: 2/2/2009 10:12:18 AM
Body: favorite 10 movies seen in the theater (2008) Man On Wire In Bruges Kabluey I've Loved You So Long Young@Heart Song Sung Blue Snow Angels Tell No One Behind The Glass (2008)* The Dark Knight *Croatian movie from the Denver Film Festival. original title is "Iza Stakla" and director is Zrinko Ogresta. honorable mention (alphabetical) Burn After Reading Caramel The Damnation Of Faust (Metropolitan Opera broadcast) Happy-Go-Lucky Iron Man The Last Command (1928) Mongol Nick And Nora's Infinite Playlist Son Of Rambow Towelhead
]]>Mon, 02 Feb 2009 15:12:18 GMTwongawonga's filmblog2/2/2009 10:12:18 AMfavorite 10 movies seen in the theater (2008) Man On Wire In Bruges Kabluey I've Loved You So Long Young@Heart Song Sung Blue Snow Angels Tell No One Behind The Glass (2008)* The Dark Knight *Croatian movie from the Denver Film Festival. original title is "Iza Stakla" and director is Zrinko Ogresta. honorable mention (alphabetical) Burn After Reading Caramel The Damnation Of Faust (Metropolitan Opera broadcast) Happy-Go-Lucky Iron Man The Last Command (1928) Mongol Nick And Nora's Infinite Playlist Son Of Rambow Towelhead http://www.spout.com/blogs/karina/archive/2008/9/4/34736.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 9/4/2008 11:01:27 AM
Body: Prodigal Sons review The Curious Case of Benjamin Button preview (and backlash) Waltz with Bashir review Jeff Goldblum, Media Diet interview Helen review Tulpan review O’Horten review Learning Gravity review Ken Burns, Media Diet interview You Must Remember This: The Warner Brothers Story and tribute to Richard Schickel ‘Movies Are Over.’ Directors, Distribs & Journos Debate Future of Film & Criticism Hunger, Steve McQueen interview Slavoj Zizek and Nazi melodrama Telluride 2008 photos Slumdog Millionaire review Adam Resurrected, Paul Schrader interview Firaaq review The Rest is Silence review I’ve Loved You So Long review The Good, The Bad and the Weird interview with Kim Ji-Woon Revanche review Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 04 Sep 2008 15:01:27 GMTKarinaKarina on SpoutBlog9/4/2008 11:01:27 AM Prodigal Sons review The Curious Case of Benjamin Button preview (and backlash) Waltz with Bashir review Jeff Goldblum, Media Diet interview Helen review Tulpan review O’Horten review Learning Gravity review Ken Burns, Media Diet interview You Must Remember This: The Warner Brothers Story and tribute to Richard Schickel ‘Movies Are Over.’ Directors, Distribs & Journos Debate Future of Film & Criticism Hunger, Steve McQueen interview Slavoj Zizek and Nazi melodrama Telluride 2008 photos Slumdog Millionaire review Adam Resurrected, Paul Schrader interview Firaaq review The Rest is Silence review I’ve Loved You So Long review The Good, The Bad and the Weird interview with Kim Ji-Woon Revanche review Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/9/4/34735.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/4/2008 11:01:18 AM
Body: Prodigal Sons review The Curious Case of Benjamin Button preview (and backlash) Waltz with Bashir review Jeff Goldblum, Media Diet interview Helen review Tulpan review O’Horten review Learning Gravity review Ken Burns, Media Diet interview You Must Remember This: The Warner Brothers Story and tribute to Richard Schickel ‘Movies Are Over.’ Directors, Distribs & Journos Debate Future of Film & Criticism Hunger, Steve McQueen interview Slavoj Zizek and Nazi melodrama Telluride 2008 photos Slumdog Millionaire review Adam Resurrected, Paul Schrader interview Firaaq review The Rest is Silence review I’ve Loved You So Long review The Good, The Bad and the Weird interview with Kim Ji-Woon Revanche review Originally posted on:SpoutBlog
]]>Thu, 04 Sep 2008 15:01:18 GMTSpoutBlogSpoutBlog on spout.com9/4/2008 11:01:18 AM Prodigal Sons review The Curious Case of Benjamin Button preview (and backlash) Waltz with Bashir review Jeff Goldblum, Media Diet interview Helen review Tulpan review O’Horten review Learning Gravity review Ken Burns, Media Diet interview You Must Remember This: The Warner Brothers Story and tribute to Richard Schickel ‘Movies Are Over.’ Directors, Distribs & Journos Debate Future of Film & Criticism Hunger, Steve McQueen interview Slavoj Zizek and Nazi melodrama Telluride 2008 photos Slumdog Millionaire review Adam Resurrected, Paul Schrader interview Firaaq review The Rest is Silence review I’ve Loved You So Long review The Good, The Bad and the Weird interview with Kim Ji-Woon Revanche review Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/3/34701.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/3/2008 4:00:29 PM
Body: I’ve Loved You So Long came into Telluride with a lot of buzz about this being Kristen Scott Thomas‘ soon-to-be Oscar winning performance. Like Forrest Whittaker in The Last King of Scotland two years ago, it was the performance not to miss. So, I didn’t. And if Kristen Scott Thomas wins an Oscar it’s because there are very few actresses who can hold an audience for two hours alternating between chain smoking with a million-mile-stare and delivering long, expository monologues about her backstory. I mean that as a compliment to Ms. Thomas and a criticism to director, Philippe Claudel. Juliette (Kristen Scott Thomas) sits in an airport in France smoking. Her face is a map of heartache. In fact, it looks more dead than alive, which is probably the most impressive moment of the movie. (Why do directors insist that great actors talk so much?) Her sister, Léa (Elsa Zylberstein) arrives late. The ride to her sister’s country home is icy. They haven’t seen each other in a long time and they want to discuss anything but why. That’s how I’ve Loved You So Long begins. Quickly, we learn Juliette has been in prison fifteen years for murder. But obviously she’s not considered dangerous because her sister brought her home to live with her husband, two adopted daughters and mute father-in-law. Juliette and Léa reluctantly embark on trying to be sisters again. Meanwhile, Juliette looks for a job, smokes, visits her parole officer (Frédéric Pierrot, the most compelling character with the least screen time) and slowly defrosts around her sister’s family and friends. When somebody tries to talk to her, she snaps at them, but when she chooses to talk to somebody, there’s a huge backlog of stories about herself she needs to share. Its kind of a rhythm: Smoking, snapping, talking. Smoking, snapping, talking. It doesn’t take too much time for the audience to discern the nature of the murder she served time for, but for some reason the director orchestrates a big reveal at the climax of the movie, which is anything but. Juliette’s a classic tragedian whose slowly stepping toward a grand catharsis, a moment that begs us to be stunned by what we’ve known all along. At Berlin, I’ve Loved You So Long won the Ecumenical Prize for best picture promoting unity or something. I guess it won because we feel compassion for a prisoner walking the streets after serving time for a crime of compassion. But isn’t that kind of a non-criminal? It’d be like making a movie about learning to forgive Harriet Tubman for all the lies she told. I think if the award validates anything, it’s that people love to have great actors repeat their beliefs back to them. Now Revanche on the other hand. Phew-ee. That movie had a slimeball ex-con who was so magnetic I wanted to hire him as a nanny. Figure out how the director promoted that kind of unity because I can’t. Originally posted on:SpoutBlog
]]>Wed, 03 Sep 2008 20:00:29 GMTSpoutBlogSpoutBlog on spout.com9/3/2008 4:00:29 PMI’ve Loved You So Long came into Telluride with a lot of buzz about this being Kristen Scott Thomas‘ soon-to-be Oscar winning performance. Like Forrest Whittaker in The Last King of Scotland two years ago, it was the performance not to miss. So, I didn’t. And if Kristen Scott Thomas wins an Oscar it’s because there are very few actresses who can hold an audience for two hours alternating between chain smoking with a million-mile-stare and delivering long, expository monologues about her backstory. I mean that as a compliment to Ms. Thomas and a criticism to director, Philippe Claudel. Juliette (Kristen Scott Thomas) sits in an airport in France smoking. Her face is a map of heartache. In fact, it looks more dead than alive, which is probably the most impressive moment of the movie. (Why do directors insist that great actors talk so much?) Her sister, Léa (Elsa Zylberstein) arrives late. The ride to her sister’s country home is icy. They haven’t seen each other in a long time and they want to discuss anything but why. That’s how I’ve Loved You So Long begins. Quickly, we learn Juliette has been in prison fifteen years for murder. But obviously she’s not considered dangerous because her sister brought her home to live with her husband, two adopted daughters and mute father-in-law. Juliette and Léa reluctantly embark on trying to be sisters again. Meanwhile, Juliette looks for a job, smokes, visits her parole officer (Frédéric Pierrot, the most compelling character with the least screen time) and slowly defrosts around her sister’s family and friends. When somebody tries to talk to her, she snaps at them, but when she chooses to talk to somebody, there’s a huge backlog of stories about herself she needs to share. Its kind of a rhythm: Smoking, snapping, talking. Smoking, snapping, talking. It doesn’t take too much time for the audience to discern the nature of the murder she served time for, but for some reason the director orchestrates a big reveal at the climax of the movie, which is anything but. Juliette’s a classic tragedian whose slowly stepping toward a grand catharsis, a moment that begs us to be stunned by what we’ve known all along. At Berlin, I’ve Loved You So Long won the Ecumenical Prize for best picture promoting unity or something. I guess it won because we feel compassion for a prisoner walking the streets after serving time for a crime of compassion. But isn’t that kind of a non-criminal? It’d be like making a movie about learning to forgive Harriet Tubman for all the lies she told. I think if the award validates anything, it’s that people love to have great actors repeat their beliefs back to them. Now Revanche on the other hand. Phew-ee. That movie had a slimeball ex-con who was so magnetic I wanted to hire him as a nanny. Figure out how the director promoted that kind of unity because I can’t. Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2008/9/3/34700.aspx Post By: paul
Post To: paul on spout.com
Post Date: 9/3/2008 4:00:09 PM
Body: I’ve Loved You So Long came into Telluride with a lot of buzz about this being Kristen Scott Thomas‘ soon-to-be Oscar winning performance. Like Forrest Whittaker in The Last King of Scotland two years ago, it was the performance not to miss. So, I didn’t. And if Kristen Scott Thomas wins an Oscar it’s because there are very few actresses who can hold an audience for two hours alternating between chain smoking with a million-mile-stare and delivering long, expository monologues about her backstory. I mean that as a compliment to Ms. Thomas and a criticism to director, Philippe Claudel. Juliette (Kristen Scott Thomas) sits in an airport in France smoking. Her face is a map of heartache. In fact, it looks more dead than alive, which is probably the most impressive moment of the movie. (Why do directors insist that great actors talk so much?) Her sister, Léa (Elsa Zylberstein) arrives late. The ride to her sister’s country home is icy. They haven’t seen each other in a long time and they want to discuss anything but why. That’s how I’ve Loved You So Long begins. Quickly, we learn Juliette has been in prison fifteen years for murder. But obviously she’s not considered dangerous because her sister brought her home to live with her husband, two adopted daughters and mute father-in-law. Juliette and Léa reluctantly embark on trying to be sisters again. Meanwhile, Juliette looks for a job, smokes, visits her parole officer (Frédéric Pierrot, the most compelling character with the least screen time) and slowly defrosts around her sister’s family and friends. When somebody tries to talk to her, she snaps at them, but when she chooses to talk to somebody, there’s a huge backlog of stories about herself she needs to share. Its kind of a rhythm: Smoking, snapping, talking. Smoking, snapping, talking. It doesn’t take too much time for the audience to discern the nature of the murder she served time for, but for some reason the director orchestrates a big reveal at the climax of the movie, which is anything but. Juliette’s a classic tragedian whose slowly stepping toward a grand catharsis, a moment that begs us to be stunned by what we’ve known all along. At Berlin, I’ve Loved You So Long won the Ecumenical Prize for best picture promoting unity or something. I guess it won because we feel compassion for a prisoner walking the streets after serving time for a crime of compassion. But isn’t that kind of a non-criminal? It’d be like making a movie about learning to forgive Harriet Tubman for all the lies she told. I think if the award validates anything, it’s that people love to have great actors repeat their beliefs back to them. Now Revanche on the other hand. Phew-ee. That movie had a slimeball ex-con who was so magnetic I wanted to hire him as a nanny. Figure out how the director promoted that kind of unity because I can’t. Originally posted on:SpoutBlog » Paul Moore
]]>Wed, 03 Sep 2008 20:00:09 GMTpaulpaul on spout.com9/3/2008 4:00:09 PMI’ve Loved You So Long came into Telluride with a lot of buzz about this being Kristen Scott Thomas‘ soon-to-be Oscar winning performance. Like Forrest Whittaker in The Last King of Scotland two years ago, it was the performance not to miss. So, I didn’t. And if Kristen Scott Thomas wins an Oscar it’s because there are very few actresses who can hold an audience for two hours alternating between chain smoking with a million-mile-stare and delivering long, expository monologues about her backstory. I mean that as a compliment to Ms. Thomas and a criticism to director, Philippe Claudel. Juliette (Kristen Scott Thomas) sits in an airport in France smoking. Her face is a map of heartache. In fact, it looks more dead than alive, which is probably the most impressive moment of the movie. (Why do directors insist that great actors talk so much?) Her sister, Léa (Elsa Zylberstein) arrives late. The ride to her sister’s country home is icy. They haven’t seen each other in a long time and they want to discuss anything but why. That’s how I’ve Loved You So Long begins. Quickly, we learn Juliette has been in prison fifteen years for murder. But obviously she’s not considered dangerous because her sister brought her home to live with her husband, two adopted daughters and mute father-in-law. Juliette and Léa reluctantly embark on trying to be sisters again. Meanwhile, Juliette looks for a job, smokes, visits her parole officer (Frédéric Pierrot, the most compelling character with the least screen time) and slowly defrosts around her sister’s family and friends. When somebody tries to talk to her, she snaps at them, but when she chooses to talk to somebody, there’s a huge backlog of stories about herself she needs to share. Its kind of a rhythm: Smoking, snapping, talking. Smoking, snapping, talking. It doesn’t take too much time for the audience to discern the nature of the murder she served time for, but for some reason the director orchestrates a big reveal at the climax of the movie, which is anything but. Juliette’s a classic tragedian whose slowly stepping toward a grand catharsis, a moment that begs us to be stunned by what we’ve known all along. At Berlin, I’ve Loved You So Long won the Ecumenical Prize for best picture promoting unity or something. I guess it won because we feel compassion for a prisoner walking the streets after serving time for a crime of compassion. But isn’t that kind of a non-criminal? It’d be like making a movie about learning to forgive Harriet Tubman for all the lies she told. I think if the award validates anything, it’s that people love to have great actors repeat their beliefs back to them. Now Revanche on the other hand. Phew-ee. That movie had a slimeball ex-con who was so magnetic I wanted to hire him as a nanny. Figure out how the director promoted that kind of unity because I can’t. Originally posted on:SpoutBlog » Paul Moore http://www.spout.com/blogs/spoutblog/archive/2008/8/29/34537.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/29/2008 5:02:48 PM
Body: There seems to be some consensus around and abouts on the Interwebz that this year’s Telluride Film Festival line-up is a non-starter. Its collection of foreign films, documentaries and classic films - along with a smattering of the more usual fare - seems to fly in the face of the perception of the festival as a launching pad for the next great independent-minded-but-mainstream-accessible crossover hit. Considering last year’s festival included first looks at Juno, There Will Be Blood, The Savages and others that went on to some mainstream success, such reaction is to be expected. But the - let’s generously say “oddly”  - formed 2008 list doesn’t mean a crossover success is completely outside the realm of possibility. Let’s look at five movies that could wind up getting some decent buzz coming out of Telluride and heading into the remainder of festivals and awares season. Happy-Go-Lucky: Anything from director Mike Leigh is sure to come with some expectations around it and this is likely to be no exception. While the odds are good this will be somewhat lighter in tone than some of Leigh’s previous films I wouldn’t bet on it being any less a sharp character study. And never underestimate the power of a powerfully perky female lead, which could help Happy-Go-Lucky become a feel-good hit in the non-entertainment areas of the country that are looking for an endearing story featuring a strong love story. Adam Resurrected: The perception - at least among the staffers at here at Spout HQ - is that a good deal of Jeff Goldblum’s appeal comes from his unpredictability. So with a career that’s had him saving the world, dodging dinosaurs and turning into a fly his latest turn is as a Jewish entertainer in Nazi Germany who survives because of his ability to entertain the children being held at the concentration camps. Combine that with the fact that he and co-star Willem Dafoe are directed by Paul Schrader and you have a film that could make a decent splash with audiences and awards voters. I’ve Loved You So Long: Kristen Scott-Thomas stars in a story about the members of an estranged family who find themselves coming together after one of them spends 15 years in prison. The emotional arc the story is sure to take Scott-Thomas on is one that is, at least on paper, seemingly tailor-made to please critics (there’s a lot of “Best Actress Oscar” talk from those who’ve seen it). While not a crowd-pleaser it could turn out to be something along the lines of There Will Be Blood should enough critics get behind it and turn the story of someone who might not be completely likable into a must-see movie. Youssou Ndour - I Bring What I Love: Known primarily in the U.S., I’m guessing, for his work with Peter Gabriel in the late 80’s, Youssou Ndour’s story is certainly a compelling one. There’s usually one documentary that breaks out from the pack and earns a place in the queues of people who don’t normally watch them and since the subject matter here is a tad more accessible than that of some other docs, this could be that one. The Curious Case of Benjamin Button: No, it’s not actually screening at Telluride, but a sneak peak of it is being included in the presentation of Zodiac: The Director’s Cut that’s happening. If the footage that’s shown of the movie, which stars Brad Pitt as a man who ages in reverse, is any good at all, Telluride could become the launching pad for a lot of buzz going into the remainder of the year. Originally posted on:SpoutBlog
]]>Fri, 29 Aug 2008 21:02:48 GMTSpoutBlogSpoutBlog on spout.com8/29/2008 5:02:48 PMThere seems to be some consensus around and abouts on the Interwebz that this year’s Telluride Film Festival line-up is a non-starter. Its collection of foreign films, documentaries and classic films - along with a smattering of the more usual fare - seems to fly in the face of the perception of the festival as a launching pad for the next great independent-minded-but-mainstream-accessible crossover hit. Considering last year’s festival included first looks at Juno, There Will Be Blood, The Savages and others that went on to some mainstream success, such reaction is to be expected. But the - let’s generously say “oddly”  - formed 2008 list doesn’t mean a crossover success is completely outside the realm of possibility. Let’s look at five movies that could wind up getting some decent buzz coming out of Telluride and heading into the remainder of festivals and awares season. Happy-Go-Lucky: Anything from director Mike Leigh is sure to come with some expectations around it and this is likely to be no exception. While the odds are good this will be somewhat lighter in tone than some of Leigh’s previous films I wouldn’t bet on it being any less a sharp character study. And never underestimate the power of a powerfully perky female lead, which could help Happy-Go-Lucky become a feel-good hit in the non-entertainment areas of the country that are looking for an endearing story featuring a strong love story. Adam Resurrected: The perception - at least among the staffers at here at Spout HQ - is that a good deal of Jeff Goldblum’s appeal comes from his unpredictability. So with a career that’s had him saving the world, dodging dinosaurs and turning into a fly his latest turn is as a Jewish entertainer in Nazi Germany who survives because of his ability to entertain the children being held at the concentration camps. Combine that with the fact that he and co-star Willem Dafoe are directed by Paul Schrader and you have a film that could make a decent splash with audiences and awards voters. I’ve Loved You So Long: Kristen Scott-Thomas stars in a story about the members of an estranged family who find themselves coming together after one of them spends 15 years in prison. The emotional arc the story is sure to take Scott-Thomas on is one that is, at least on paper, seemingly tailor-made to please critics (there’s a lot of “Best Actress Oscar” talk from those who’ve seen it). While not a crowd-pleaser it could turn out to be something along the lines of There Will Be Blood should enough critics get behind it and turn the story of someone who might not be completely likable into a must-see movie. Youssou Ndour - I Bring What I Love: Known primarily in the U.S., I’m guessing, for his work with Peter Gabriel in the late 80’s, Youssou Ndour’s story is certainly a compelling one. There’s usually one documentary that breaks out from the pack and earns a place in the queues of people who don’t normally watch them and since the subject matter here is a tad more accessible than that of some other docs, this could be that one. The Curious Case of Benjamin Button: No, it’s not actually screening at Telluride, but a sneak peak of it is being included in the presentation of Zodiac: The Director’s Cut that’s happening. If the footage that’s shown of the movie, which stars Brad Pitt as a man who ages in reverse, is any good at all, Telluride could become the launching pad for a lot of buzz going into the remainder of the year. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/29/34517.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/29/2008 9:01:07 AM
Body: The 2008 Telluride Film Festival list of movies was revealed this afternoon. Our team on the ground is going to be back with more commentary on the selections but it looks to be an exciting and eclectic festival this year as usual. You can also stay up to date here on SpoutBlog or join in the conversation that develops around these movies on our Telluride Film Festival Group page. The full lineup is after the jump. A New Land (Nybyggarna) Adam Resurrected American Violet An Italian Straw Hat (Un Chapeau de Paille d’Italie) Daddy and Lili Marlene Elmer Gantry Everlasting Moments Firaaq Flame & Citron Gomorrah Happy-Go-Lucky Helen Here Is Your Life (Haer Har Du Ditt Liv) Hunger I’ve Loved You So Long… Innocence Unprotected(Nevinost bez Zastite) Kisses Learning Gravity Lola Montès Low Level Flight Meet You in Denver Nightmare Alley O’Horten On Dangerous Ground Philanthropy Pirate for the Sea Pirosmani Private Century Revanche Seconds The Emigrants The Fall of Berlin (Padeniye Berlina) The Good, the Bad and the Weird The Great Sacrifice (Opfergang) The Rest is Silence (Restul e Tacere) Tulpan Waltz With Bashir With a Little Help From Myself (Aide-toi le ciel t’aidera) You Must Remember This: The Warner Bros. Story Youssou Ndour: I Bring What I Love Zodiac Originally posted on:SpoutBlog
]]>Fri, 29 Aug 2008 13:01:07 GMTSpoutBlogSpoutBlog on spout.com8/29/2008 9:01:07 AMThe 2008 Telluride Film Festival list of movies was revealed this afternoon. Our team on the ground is going to be back with more commentary on the selections but it looks to be an exciting and eclectic festival this year as usual. You can also stay up to date here on SpoutBlog or join in the conversation that develops around these movies on our Telluride Film Festival Group page. The full lineup is after the jump. A New Land (Nybyggarna) Adam Resurrected American Violet An Italian Straw Hat (Un Chapeau de Paille d’Italie) Daddy and Lili Marlene Elmer Gantry Everlasting Moments Firaaq Flame & Citron Gomorrah Happy-Go-Lucky Helen Here Is Your Life (Haer Har Du Ditt Liv) Hunger I’ve Loved You So Long… Innocence Unprotected(Nevinost bez Zastite) Kisses Learning Gravity Lola Montès Low Level Flight Meet You in Denver Nightmare Alley O’Horten On Dangerous Ground Philanthropy Pirate for the Sea Pirosmani Private Century Revanche Seconds The Emigrants The Fall of Berlin (Padeniye Berlina) The Good, the Bad and the Weird The Great Sacrifice (Opfergang) The Rest is Silence (Restul e Tacere) Tulpan Waltz With Bashir With a Little Help From Myself (Aide-toi le ciel t’aidera) You Must Remember This: The Warner Bros. Story Youssou Ndour: I Bring What I Love Zodiac Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/28/34511.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/28/2008 6:01:00 PM
Body: The 2008 Telluride Film Festival list of movies was revealed this afternoon. Our team on the ground is going to be back with more commentary on the selections but it looks to be an exciting and eclectic festival this year as usual. You can also stay up to date here on SpoutBlog or join in the conversation that develops around these movies on our Telluride Film Festival Group page. A New Land (Nybyggarna) Adam Resurrected American Violet An Italian Straw Hat (Un Chapeau de Paille d’Italie) Daddy and Lili Marlene Elmer Gantry Everlasting Moments Firaaq Flame & Citron Gomorrah Happy-Go-Lucky Helen Here Is Your Life (Haer Har Du Ditt Liv) Hunger I’ve Loved You So Long… Innocence Unprotected(Nevinost bez Zastite) Kisses Learning Gravity Lola Montès Low Level Flight Meet You in Denver Nightmare Alley O’Horten On Dangerous Ground Philanthropy Pirate for the Sea Pirosmani Private Century Revanche Seconds The Emigrants The Fall of Berlin (Padeniye Berlina) The Good, the Bad and the Weird The Great Sacrifice (Opfergang) The Rest is Silence (Restul e Tacere) Tulpan Waltz With Bashir With a Little Help From Myself (Aide-toi le ciel t’aidera) You Must Remember This: The Warner Bros. Story Youssou Ndour: I Bring What I Love Zodiac (The Director’s Cut) Originally posted on:SpoutBlog
]]>Thu, 28 Aug 2008 22:01:00 GMTSpoutBlogSpoutBlog on spout.com8/28/2008 6:01:00 PMThe 2008 Telluride Film Festival list of movies was revealed this afternoon. Our team on the ground is going to be back with more commentary on the selections but it looks to be an exciting and eclectic festival this year as usual. You can also stay up to date here on SpoutBlog or join in the conversation that develops around these movies on our Telluride Film Festival Group page. A New Land (Nybyggarna) Adam Resurrected American Violet An Italian Straw Hat (Un Chapeau de Paille d’Italie) Daddy and Lili Marlene Elmer Gantry Everlasting Moments Firaaq Flame & Citron Gomorrah Happy-Go-Lucky Helen Here Is Your Life (Haer Har Du Ditt Liv) Hunger I’ve Loved You So Long… Innocence Unprotected(Nevinost bez Zastite) Kisses Learning Gravity Lola Montès Low Level Flight Meet You in Denver Nightmare Alley O’Horten On Dangerous Ground Philanthropy Pirate for the Sea Pirosmani Private Century Revanche Seconds The Emigrants The Fall of Berlin (Padeniye Berlina) The Good, the Bad and the Weird The Great Sacrifice (Opfergang) The Rest is Silence (Restul e Tacere) Tulpan Waltz With Bashir With a Little Help From Myself (Aide-toi le ciel t’aidera) You Must Remember This: The Warner Bros. Story Youssou Ndour: I Bring What I Love Zodiac (The Director’s Cut) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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