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Un Coeur en Hiver
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Directed by Claude Sautet
Daniel Auteuil and Emmanuelle Béart from Manon of the Spring (1986) co-star once again in Un Coeur en Hiver, playing characters whose distance from each others' lives belies the enormous emotional impact they have on one another. Directed by Claude Sautet, whose 40-year career included the Oscar-winning César et Rosalie (1972), Un Coeur en Hiver is a remarkably restrained film with torrents of feeling just under the surface. Auteuil plays Stephane, partner in an exclusive violin brokerage. His older business partner Maxime (Andre Dussolier) has a lovely new violinist girlfriend, Camille (Béart), who stirs Stephane but is ultimately rejected by him, sending all three characters into a spin that destroys their delicate, symbiotic balance. Hovering over this story is an unusual musical motif that is key to the characters' inner motivations. Violins play, and play on camera, all through the film, but the nature of Stephane's craft, Camille's career, and Maxime's profits is that the music can always be refined, tinkered with, changed with a twist of this or a bit of that. That's precisely how they conduct their relationships and lives -- with a fragile sense of security and no idea when to stop manipulating life for effect. ~ Tom Keogh, All Movie Guide
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Review by All Movie Guide
All Movie Guide
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A gorgeously subtle examination of an unusual love triangle, Un coeur en hiver is a triumph for all involved. The film follows of a pair of business partners (André Dussolier and Daniel Auteuil), who run an exclusive stringed-instrument workshop, and the beautiful and talented violinist (Emmanuelle Béart) who comes between them. At first, it seems like standard material, but Claude Sautet's film is unique in that the characters' inevitable ruin is brought on not by an illicit affair but by the contemplation of an illicit affair. Thus the film becomes a moving, if occasionally frustrating, portrait of emotional frigidity. Sautet's subdued and perfectly paced direction (for which he won a French César award) and the script, by Yves Ulmann, Jacques Fiéschi, and Jerome Tonnèrre from a short story by Mikhail Lermontov, frame three superlative performances. Dussollier, who also picked up a César, hits all the right notes as the gregarious Maxime, and Auteuil is consistently fascinating, subtly hinting at hidden depths beneath Stephane's maddeningly enigmatic mug. Béart's Camille, though, is at the heart of the film, and her performance is both technically flawless (she studied the violin for more than a year before filming) and emotionally harrowing. The film also features a stunning Ravel soundtrack, performed by violinist Jean-Jacques Kantorow. ~ Mark Pittillo, All Movie Guide
 

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