Linbeymusol Wonderful character development!

Breakinger A Brilliant Conflict

Matrixiole Simple and well acted, it has tension enough to knot the stomach.

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

A.W Richmond They all loved him. Jean Louis Trintignat is the focus of their love. He is dead. Love is not. The shape, light and nature of one's love for another changes from character to character. I was riveted by that puzzle that love usually implies. And Vincent Perez? Where is he? I kept waiting for him to appear in all its unbearable beauty. The film was almost over and no sign of Perez. But, I was rapidly falling in love with a young woman I had never seen before on the screen. She is not just a superb actress but a monumental beauty. Hold on a minute. I think I've seen her before. God almighty! It's Vincent Perez! Among the many delightful, thoughtful surprises of this, unusual, french import is Vincent Perez as a girl. If you let the film happen and you don't fight it. You are going to have a wonderful experience.

andrzejwoyda The film was very disappointing. The story of a mediocre painter, his family and friends seemed to be very promising at the beginning, but neither the actors nor the plot itself absorbed me. No emotions, no interesting characters, no good music. Don't waste your time!

michaeljosephk No recent film starts better than this one; it out-Altmans Altman with its stunning fragmented introduction of a large cast in a confused situation as they hurriedly board the train taking them away to the funeral in the provinces. It's even helped for an Anglo-Saxon audience in that we don't know who the hell any of these French actors are. (But aren't they terrific?) The first 45 mins or thereabouts are a breathtaking hand-held roller-coaster ride more exhilarating than... well, than more or less anything you can think of. Unfortunately the train journey ends, and we settle down into another hour of vie de chateau banalities, in one of those big old houses no-one can afford to light properly. All of the usual plots raise their tired old heads: gay and straight infidelities, dotty old women and sinister old men, ravishing rent boys with HIV, abortion, drugs, inheritances, you name it and who cares? To cap it all when the missing guest finally arrives, as he was bound to - guess what? He's transgendered. Please!!! As a film director Chereau is every bit as astounding as he used to be working on stage. Please though, Patrice - try working with a script next time. (I know, there's been a next time already, and 'Intimacy' is just about opening in London, vastly famous already for 10 seconds or something of non-simulated heterosexual oral sex. I can wait.)

patronus A drama queen's wet dream. It offers up a magnificent, almost epic gloss of the melodrama of at least 14 characters. The problem is that with a Robert Altman-sized cast crammed into 2 hours (Altman would take 3 or more), and screen time distributed more or less democratically, it's hard to get to know the characters--but some are very compelling anyway. The film is narrated and edited ridiculously, as if a novel had been tossed into a blender. Most scenes feel like they're less than a minute long yet are packed with dialogue. You might wonder if the filmmakers are trying to obscure script problems by making routine exposition an unusual chore.However, the film's melodrama is presented in a lushly dark, romantic, Gallic way. There's something heady about the experience. And the film has some extraordinary settings. The cemetery is one of the most stunning locations since Scarlet O'Hara walked through the endless Confederate dead. And the train, crowded and zipping through the French countryside, is metaphoric in an undeniably physical way. Since Americans don't support public transportation, esp. trains, this experience struck me as unique.