106 minutes, Colour
Principal Cast: Shinichi Tsutsumi, Hiroshi Shimizu, Akira Yamamoto, Ikko Suzuki
right. One very unlucky thing after another happens to a
group of Yakuza whose boss has just been given a room in
the big house. Let me give you a flavour of it. In the
opening minutes, two members of the gang are about to
pull off a bank robbery. They don white ski masks. As
they cross the street to the bank, another man in an
identical ski mask runs out with a bag full of money.
He's hit by a car. The bag goes flying, and lands in the
hands of the Yakuza. Then one of them is struck by a car.
The money goes through the air again and drops in the
second man's hands. A foot chase ensues. ¥80 million.
That buys a lot of noodles and cigarettes. Along the way,
a number of people die, all accidents. Paranoia builds as
the bodies pile up.
But don't get me wrong -- this is not a jolly "Carry On" movie. It's perhaps the darkest comedy I've seen. Lighter than Checkov for sure, but not by a whole lot. Stylishly filmed, well paced, with attention to sound that I always welcome. a very good start to the festival.
117 minutes, Colour
Principal Cast: Sandrine Kiberlain, Sergio Castellitto, Jen-François Stévenin, Chiara Mastroianni, Aurore Clément, Roschdy Zem
|Sandrine Kiberlain plays France Regent
("Very patriotic!"), a woman who has just left
her fiancé at the alter. A detective (Sergio
Castellitto) is put on the case. He reconstructs her life
by talking to those she has met and subsequently left. He
talks to her parents, whom she's told everyone are dead.
Well they are in a way; physically they are living, but
they are emotionally deceased. When he asks if they miss
her, they give various non-committal replies until,
realizing how lame they must sound, eventually say that
they miss her.
The film is all character study -- of both France and the detective who pursues her. I've heard that you can't see yourself except in the reflection of others. That's exactly where this film is coming from. Fabulous. Not a thing wrong with this film.
Excellent titles. I realize this sounds just stupid, but when you see a hundred films a year, you notice when someone has put a bit of thought into what typeface they're going to use, and how it's presented. Remember "Chacun Cherche Son Chat" or "Two Deaths"? Both had outstanding titles. And so does "À Vendre". They all looked
J L T U I H S K I T E S
Masson was there both before and after, though a film this intense doesn't easily lend itself to cheeky questions. So here are some comments she made:
Some dialog between Luigi the detective and France:
It gives me hope.
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