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Summer Hours (2009)
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All reviews for Summer Hours
SUMMER HOURS a film review
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KevynKnox
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KevynKnox Blog
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"(this review was first published at www.thecinematheque.com on 07/22/09) There is a moment in Olivier Assayas' Summer Hours when a father is showing his teenage son a pair of paintings hanging in his mother's country home. To the father's chagrin, the boy reacts by saying they are from another time. This too can be said of Assayas' new film. It is of another time. Away from the maddening present, Summer Hours is of another age, and it could be argued that the film is also of another director than Assayas. At least of what we know of Assayas. Starring the intense triumvirate of Juliette Binoche, Charles Berling and Jérémie Renier, Summer Hours is an almost complete departure of sorts for the director. Usually delving deep in the quite claustrophobic industrial urban techno-thriller of the modern Parisian underground, both of its outcasts and of its artists, he hands us instead a beautifully and elegantly shot, lushly panoramic vista of a family, already disheveled by ... "
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Cannes Diary: Returning Auteurs
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Karina
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Karina on SpoutBlog
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"Two films, two days, two revered European filmmakers presenting work that, in one way or another, reps a return. Olivier Assayas’ Summer Hours screened in the market without the Cannes Film Festival’s official kiss on the cheek, but even without that critical imprimatur, it’s nonetheless one the finest features I’ve seen this year, a return to classicism of a sort for Assayas (in the press notes, he admits that he sought to return to the stylistic concerns and working method of his Late August, Early September era) and the kind of thoughtful French film designed for adults for which there seems to longer be a U.S. market (IFC bought it anyway). Of Time and the City, Terrence Davies’ first film in eight years after the commercially unsuccessful artistic triumph of The House of Mirth, is a plain return to work. Both movies are about memory, about place, and a taking stock of the relationship between the two that happens in mid-life. France, the film tracks a year in the lives of the ... "
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Cannes Diary: Returning Auteurs
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SpoutBlog
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SpoutBlog on spout.com
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"Two films, two days, two revered European filmmakers presenting work that, in one way or another, reps a return. Olivier Assayas’ Summer Hours screened in the market without the Cannes Film Festival’s official kiss on the cheek, but even without that critical imprimatur, it’s nonetheless one the finest features I’ve seen this year, a return to classicism of a sort for Assayas (in the press notes, he admits that he sought to return to the stylistic concerns and working method of his Late August, Early September era) and the kind of thoughtful French film designed for adults for which there seems to longer be a U.S. market (IFC bought it anyway). Of Time and the City, Terrence Davies’ first film in eight years after the commercially unsuccessful artistic triumph of The House of Mirth, is a plain return to work. Both movies are about memory, about place, and a taking stock of the relationship between the two that happens in mid-life. France, the film tracks a year in the lives of the ... "
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