Inclubabu Plot so thin, it passes unnoticed.

Micransix Crappy film

CommentsXp Best movie ever!

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

classicsoncall I watched this film in anticipation of what I thought might be a 2016 remake to be released in a few weeks as I write this. However the description of that film sounds like it will veer significantly from this one, with the trailers suggesting an element of mystery and possible horror.This movie just left me cold. It seemed a pointless exercise to run young Jeanne (Emilie Dequenne) through the gamut of experiences here only to have her try to deal with it all by making up a phony story about being attacked. It got to the point where I thought there was an element of mental illness involved with her self disfigurement and lying to authorities. She wasn't even very good about it as a thirteen year old boy saw right through it and asked her point blank - "Why do you tell lies?" Perhaps there was some profound element in the story line that this viewer missed, but this idea of a movie simply ending with no resolution is one I find to be terribly frustrating. Particularly when most of the performances were entirely credible and intriguing enough to suggest a worthwhile story, but in the end there was nothing to it.

Sindre Kaspersen French screenwriter and director André Téchiné's eighteenth feature film which he co-wrote with French author and screenwriter Odile Barski and French playwright and translator Jean-Marie Besset, is an adaptation of a play from 2007 by Jean-Marie Besset and inspired by real events which took place in France in the early 2000s. It premiered in France, was screened in the French Revolutions section at the 53rd BFI London Film Festival in 2009, was shot on locations in France and is a French production which was produced by producer Saïd Ben Saïd. It tells the story about a woman named Jeanne who lives in Paris, France with her mother named Louise and whom is thinking about travelling to Italy whilst her mother is making other plans for her.Distinctly and precisely directed by French filmmaker André Téchiné, this finely paced and somewhat fictional tale which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a multifaceted portrayal of a French daughter in her twenties whom whilst out looking for a suitcase meets a man named Franck, and a son named Nathan whom is caught somewhere between his divorced parents. While notable for its naturalistic and atmospheric milieu depictions, reverent cinematography by French cinematographer Julien Hirsch, production design by production designer Michèle Abbé- Vannier, costume design by costume designer Khadya Zeggaï and use of sound, colors and light, this character-driven and narrative-driven story about lies, misunderstandings and the occasions leading up to a woman's response to learning about the Holocaust, depicts an investigative study of character and contains a great and timely score by composer Philippe Sarde. This reconstructive, quick-witted, consequential and psychological drama from the late 2000s which is set in the capital city of France in the 21st century and where a wrestler falls in love, a separated couple is in constant negotiations regarding their time with their son, the media is reporting anti-Semitic acts and a mother one day recognizes a Jewish attorney named Samuel Bleistein whom she once knew, is impelled and reinforced by its cogent narrative structure, substantial character development, rhythmic continuity, interrelated stories, densely romantic undertones, distinct style of filmmaking and the significant acting performances by Belgian actress Émilie Dequenne, French actors Nicolas Duvauchelle, Michel Blanc and Mathieu Demy, French actress Catherine Deneauve and Israeli actress Ronit Elkabetz. An engagingly conversational, profoundly cinematographic and tangible narrative feature.

sandover André Téchiné's newest film The Girl on the Train is a combination topical expose and sophisticated melodrama. Using a real-life case where Alice (Emilie Dequenne), a girl from a banlieu outside Paris lied about being the victim of a bias attack, Téchiné takes the emotional pulse of hate crimes and finds symptoms of common psychological distress. In other words, it's a love story from the uniquely expansive—and inquiring—point of view that makes Téchiné France's most fascinating contemporary filmmaker.The first sight of Alice rollerskating through the streets, thick curly hair surrounding her stolid face, presents a "normal" Téchiné youth—complex, enigmatic, hypersensitive to the world. Alice's place in the universe, and her politically incorrect actions, recall the troubled boy in the 1987 Scene of the Crime where Téchiné evoked the template of Great Expectations to explore how one character's fortune linked to and revealed a larger, social view of destiny.Pondering Alice's emotional life when she falls in love with a young wrestler, Franck (Nicolas Duvauchelle), takes Techine beneath the surface stability of other characters. Alice's mother Louise (Catherine Deneuve) was a nonconformist now settled by maternity and unsettled by encountering an old acquaintance, Jewish activist Samuel Bleistein (Michel Blanc). Techine intermixes these histories and on-going fates; his quick, graceful pace, piercing insight and visual flair are perfectly symbolized in Alice's rollerskating sprees. One is constantly propelled and dazzled.Alice's heterosexual female story keeps Téchiné several leaps ahead of one's expectations—and especially the intellectualized gay-ghetto preoccupations of his sex-and-psychology protégé Jacques Nolot (Before I Forget, Porn Theatre).The contrasts between Alice and Louise, Bleistein and Franck vividly illustrate the common effort to achieve satisfaction and strength. For Téchiné, race, class and gender give access to understanding this constant struggle. His post-modern approach, through Dickens, Lean, even the Dardennes brothers (Dequennes is best known for their film Rosetta) remains unsentimental about obdurate human nature. And for those further intrigued by these mysteries of love and character and society—and their authenticity—an honorary soundtrack to the emotions Téchiné uncovers in The Girl on the Train can also be found in every track of Morrissey's Years of Refusal.

Chris Knipp This Téchiné "issue" film is based on an actual news story of a young woman who pretended to have suffered an anti-Semitic attack on an RER (Réseau Express Régional) train that connects Paris with the surrounding regions. The story was originally adapted for the theater by Jean-Marie Besset and watching Besset's play gave Téchiné the idea for this quickly-shot film.There's much to like, not least of which is a cast that includes Francophone mega-stars Michel Blanc and (Téchiné regular) Catherine Deneuve (as old friends) and lively young actors Nicolas Duvauchelle (of 'Les corps impatients') and Emilie Dequenne (star of the Dardenne brothers' Rosetta. This director is always good at juggling social levels and relationships (see Les Voleurs). But the subject matter seems forced and not super-relevant, a problem also of The Witnesses, but this time the issues arise in a way that makes them seem much less urgent than the AIDS crisis. Why does Jeanne (Dequenne) make up this story? What are its ramifications for actual Jews victimized by anti-Semites--and for the level of anti-Semitism in Europe and the world today? To what extent are individuals more victimized than ever by media invasions of privacy? These aren't questions that get sufficiently explored, either on a personal or a collective level. As a result viewers will experience a complicated set of characters they care about only intermittently, and a central event whose motivation is too vague to make it emotionally involving.Jeanne lives with her mother Louise (Deneuve) in a house with a garden in the suburbs of Paris very near the RER line. They get along really well. Louise earns a living minding children. Jeanne is looking for work, but not very energetically. Louise reads a web notice one day that gives her the fantasy that she can get Alice a job working for a famous lawyer, Samuel Bleinstein (Blanc), whom she knew when they were very young. Jeanne gets an interview. It's not very promising. But she and Louise are going to get plenty of quality time with Bleinstein after Jeanne's lie comes out.Before that, an online meeting: Jeanne connects in a chat-room with Frank (Duvachelle), a tattooed martial arts champion whose background may be dodgier than she realizes, but who is clearly more motivated than her because of his credible pro-sport ambitions. Jeanne and Frank have a roller-blade date and hit it off pretty fast. Before long Jeanne's not only sleeping over with Frank but sharing the responsibility of minding a mysterious electronics warehouse whose owner is away. It turns out the warehouse holds something other than electronics, and Frank's uncooperativeness with some gangster types causes him to wind up in the hospital with a potentially fatal stab wound. Frank, who has already been troubled by Jeanne's habit of lying, decides his involvement with her isn't good for either of them. It's in the wake of Frank's rejection that Jeanne cuts herself and paints on swastikas with a felt pen, then goes to the police with an invented story of being assaulted on the RER. by racist anti-Semites.Somewhat to Jeanne's shock, her story arouses an immediate and rapidly metastasizing media frenzy. She is soon forced to admit her lie. This gets her in trouble with the law. This in turn leads Louise to call on her old friend Samuel, whom she's newly aware of from finding the job at his office on the Internet. We get scenes of Samuel's extended family, a Jewish family, whose members are debating over the coming bar mitzvah of young Nathan. (The young actor has a strong presence; I can't find his name in the casting list. But his father Alex is played by Mathieu Demy and his mother Judith by the vivid Ronit Elkabetz.) 'La fille du RER' (film's French title) is meant to creep up on you. Perhaps to avoid being stamped "thriller" or "crime story," but also to show how violence can pop up unexpectedly in what seem everyday lives, it meanders for an hour before Frank's stabbing. Throughout, the film explores semi-chance interconnections of different people with complex family ties--and some, like Frank, who're estranged from any family--in a world where violence can strike all of a sudden, and is so ever-present it becomes a tool to be used by a young woman to get attention. In her search for identity--missing perhaps due to the absence of her father and the lack of any commitment to work--Jeanne seeks an artificial identity in pretending to be Jewish and a victim of violence. As Stephen Holden notes in his 'NYTimes' Rendez-Vous roundup, "Mr. Téchiné shows his special empathy for the ways youthful impatience can trigger impulsively self-destructive behavior." For young Nathan, identity is being presented on a silver platter in the traditional coming-of-age ritual of a bar mitzvah.Julien Hirsch is responsible for the film's bright, beautiful look. Costume designer Radija Zeggai gets the credit one assumes, for Deneuve's wonderfully frumpy-chic outfits.The film is scheduled for French release March 18, 2009. Its showing in the Rendez-Vous with French Cinema at Lincoln Center is its world premiere.