Tag: marion cotillard

Rust and Bone


Rust and Bone (2012)
★★★ / ★★★★

Ali (Matthias Schoenaerts), having had experience in boxing and kickboxing, gets a job as a bouncer in a nightclub. A fight breaks out between a man and a woman, the former calling her a whore as the latter ends up on middle of the floor with a bleeding face. Concerned for her safety, Ali drives Stéphanie (Marion Cotillard) to her place, only to be met with a scowling and jealous boyfriend. Ali gives her his phone number just in case she needs someone to talk to. They will meet again some time later when Stéphanie no longer has her legs.

Though not the most tightly constructed drama, “De rouille et d’os,” based on Craig Davidson’s short stories, is loyal to the fact that life is often messy and unbalanced. Sure, the story can be summed up and interpreted as an odd romance between a fighter and an amputee, but the circumstances that surround them demand more urgency on the gut level. It is more accurate to consider the film as a story about two people who happen to meet each other at the right time.

Stéph and Ali are interesting together as when they are apart. Emphasis is placed on Ali’s physicality, not just in the things he does, like pummeling someone’s face into bloody mush or using his limbs to knock an opponent off-balance, but also in his stature, how wide he is even when he is simply standing there. In contrast, Stéph, at least initially, underscores a lack of dominance. There is a frailty about her—an emotional and psychological withering—the anger, frustration, and denial she goes through after learning that both of her legs—and perhaps a chance to live a life of normalcy—are gone.

Because they are so different, when they are within physical reach of each other, it is a most fascinating concoction. It is almost as if they feed off one another’s strengths. The careful screenplay by Jacques Audiard and Thomas Bigegain is key in allowing us to understand the mutualism between the characters without coming off trite. When Ali decides to help Stéph, we do not discover a layer of sensitivity in him but are simply reminded of it due to the early scenes. It is easy to forget someone’s softer side when the person seems most comfortable in violence. Meanwhile, when Stéph is more willing to accept what has happened to her, we are with her in her quiet victory.

The issue of sex is brought up eventually. Stéph wonders if “it,” her plumbing, still works. Naturally, Ali is willing to help out. There is a layer of amusement without touching upon comedy, a welcome change from the heaviness of their circumstances. We have seen Ali engage in sex with other women. He is rough, almost violent (or it seems violent) though in a different arena. Will that approach work for Stéph? Whether if it does or does not, how will their friendship change?

Clearly the point that “Rust and Bone,” directed by Jacques Audiard, wishes to address is that there is a life after losing an important part of us. It may not seem that way for a while but as rust invades metal and broken bone heals, time gives way for an opportunity. The protagonists’ lives are a series of ups and downs, but their story is one that we can choose to believe as hopeful.

Allied


Allied (2016)
★★★ / ★★★★

Robert Zemeckis’ “Allied” wears the spirit of a 1940s picture, so beautifully detailed in nearly every aspect. With its ability and willingness to unfold slowly, it dares us to appreciate the minutiae, from the material of clothing and how it matches with or contrasts against walls or sides of buildings to the subtle interior changes a character goes through upon learning information that might lead to a reassessment of a relationship. Here is a film that has an intriguing story to tell where no easy solution is offered. Had screenwriter Steven Knight been less ambitious, it would have turned out to be just another spy thriller and a hunt for a mole.

Brad Pitt and Marion Cotillard portray an intelligence officer and a French Resistance fighter in World War II, Max Vatan and Marianne Beauséjour, who are assigned in Casablanca to assassinate a Nazi ambassador. It is apparent that the two experienced dramatic performers enjoy their roles for they infuse a high level of energy behind every body language and between exchange of words. And coating their enthusiasm for the roles is a frisky elegance, so joyous to watch and think about because these are characters who at times do not say exactly what they mean. They come across as real individuals who just so happen to belong in a world of secrets and lies where differences could mean life or death.

The first half of the film comes across as an extended exposition. Although it may bother or annoy less patient viewers who crave action from the get-go, I was completely enraptured by its rhythm, long silences, and knowing glances. The material provides a realistic situation of how people may act around one another when handling a top-secret government assignment. Equally important during this hypnotic first hour, we get to a chance to ascertain who is the better tactician depending on the occasion. Max and Marianne’s respective approaches to complete a task differ greatly sometimes. And through their differences we recognize specific reasons why are attracted to one another eventually.

Although still intriguing, the second half is less strong by comparison. With the story moving away from exotic Casablanca to London, the locales are not as exciting visually. Perhaps the intention is to shift our focus from environment to increasing internal struggles, particularly of Max receiving news that his wife is possibly a German spy, but there is a way to pull off such a strategy. One way is perhaps to amplify the human drama. Instead, the dramatic core, while able to offer surprising details at times with its elegant screenplay, it remains as subtle as a flickering ember rather than a full-on blaze.

The suspense is embedded in how much we have grown to care for the characters. This is a challenge because we go in with the assumption that it is going to trick us somehow, or try to at the very least, since, after all, it is an espionage picture. But because those behind and in front of the camera choose to treat the material seriously and with respect, genuinely committing to a sub-genre that is not foreign to a spice of melodrama, it works somehow. Those who jump in with an open mind will be pleasantly surprised.

Two Days, One Night


Two Days, One Night (2014)
★★★★ / ★★★★

Fourteen out of sixteen employees voted to terminate Sandra (Marion Cotillard) in exchange for a bonus of one thousand euros. But Sandra, who has a history of depression, is getting another chance: Due to a certain piece of information that might have impacted the votes, there will be another election the coming Monday. Over the weekend, she hopes to visit her colleagues and try to persuade them to change their votes.

“Two Days, One Night,” written and directed by Jean-Pierre Dardenne and Luc Dardenne, is told with such simplicity and honesty that just about every passing minute commands tension. We follow Sandra from the moment she receives the news about her possible termination until the moment she learns whether she will still have a job. There is no sentimentality. There is only a difficult situation and the person in the middle of it.

Some might wonder whether a situation like the picture presents can or does happen in real life. I didn’t care either way because what is at stake is important. If Sandra gets terminated, she and her husband (Fabrizio Rongione) will not be able to afford the mortgage and so they must rely on some sort of financial assistance to get by. We get a chance to see how their family lives. They are not destitute but we can surmise based on the kind of bedsheets they have, the space of their place, the decorations on the wall, and the like that they are likely to fall somewhere in a lower socioeconomic status. Notice the kind of food that is put on the table for the children.

There are emotional moments and it is a challenge not to be able to empathize. These are shot in an intelligent and mature way. For instance, when Sandra feels like breaking down and crying, her suffering is not front and center. Notice that her body is turned away from the person nearest to her and also away from the camera—as if she is ashamed to be perceived as weak for shedding tears.

Most of the time, Cotillard leaves me cold with her acting because there is something about her that is not easily accessible. Sometimes even I find her to have a whiny undertone. Not here. Sure, she is made to look unglamorous, sporting no makeup, the straps of her bra always visible. But she gives something special. I noticed that Sandra has a real smile and one that she employs to force herself to feel better. Because the filmmaking can be considered minimalist, small things like facial expressions are magnified.

It is difficult to guess whether a particular co-worker will eventually give in to refuse the considerable bonus and allow Sandra to keep her job. This is because the actors who play them come across as real people one might encounter in the street. Because it is a challenge, we look closer. We note the body languages, the tone in the voices, whether there is eye contact. We are engaged.

“Deux jours, une nuit” is the kind of film I look for. It takes a simple premise and we watch the character to sink or swim amongst the challenges thrown at her. The ending, as expected from a Dardenne brothers film, is not only perfectly handled but it also feels exactly right.

A Very Long Engagement


A Very Long Engagement (2004)
★★★ / ★★★★

Mathilde (Audrey Tautou) wouldn’t accept that Manech (Gaspard Ulliel), her fiancé, could possibly have died in the trenches during World War I’s Battle of the Somme. So she hired a private investigator (Ticky Holgado) to aid her search for the truth. Based on a novel by Sébastien Japrisot, “A Very Long Engagement” was romantic, shot in a golden glow, full of hope and optimism, a nice change of tone from most movies about war. While it still featured the violence and chaos in the front lines, the picture had a habit of going back to Mathilde and her tireless quest to prove that her lover was alive. But it wasn’t just Mathilde’s story. During her investigation, she met strong women along the way who were similar to her in terms of their loyalty and the great lengths they were willing to go through to preserve what they had prior to the war. There was Tina Lombardi (Marion Cotillard) who was on a desperate mission to murder the men who mistreated her lover in the trenches. On the other hand, Elodie Gordes (Jodie Foster) tried to keep a secret the fact that her husband, who was infertile, asked her to sleep with another man so they would eventually have a total of six children. When a soldier had half a dozen kids, the soldier was sent back home. The film took a bit of getting used to because it attempted to juggle the brutality of war and the romance between Mathilde and Manech from when they were children up until Manech had been summoned to serve his country. Admittedly, the two conflicting ideas didn’t always work together. Having less scenes in the trenches could have been more effective. However, the lighthouse scenes were beautiful and it was the point where I became convinced that what Mathilde and Manech had was something special. The film came into focus when Mathilde had to endure and sift through other people’s versions of the truth. I sympathized with her for the majority of the time but there were other times when I just felt sorry for her because she only listened to things she wanted to hear. It was as if denial was her only comfort through difficult times. She had the tendency to play a strange game of “if” and “then.” For instance, if the train she was on reached a tunnel within seven seconds, then it would be a sure-fire sign that her lover was alive. Her games often led to unexpected and slightly amusing results, but we had to understand that it was her unique way of coping in order to avoid an emotional meltdown. Directed by Jean-Pierre Jeunet, “Un long dimanche de fiançailles” was touching and uplifting. Equipped with more than a dozen key characters and subplots, one of its downsides was it would most likely require audiences multiple viewings to fully understand how they were all connected.

Inception


Inception (2010)
★★★★ / ★★★★

The film started off like a spy film: the glamorous and exotic locale, fashionable suits, femme fatales. But unlike typical espionage pictures, the first half of the characters’ goal was not to steal a valuable object but an idea located deep inside a target’s dreams. The second (and more difficult) half was to get away with it by allowing the target to wake and continue living his life as if nothing had been taken away from him. This simplified two-step process was known as “extraction,” in which Cobb (Leonardo DiCaprio) was a leading expert. Cobb was not allowed to return to the United States to see his children so Kaito (Ken Watanabe) made an offer that Cobb simply could not refuse: to plant an idea in a future corporate leader’s mind (Cillian Murphy), known as “inception,” which had rarely been done before. If this last massion was successful, it would lead to Cobb’s freedom. In order to accomplish the mission, Cobb had to assemble a team (Joseph Gordon-Levitt, Ellen Page, Tom Hardy, Dileep Rao) with very special talents and they had to dive in the target’s subconscious while navigating their way through defenses set up by the mind and the secrets Cobb kept from his unsuspecting team.

When the movie started, I barely had any idea what was happening. I knew something exciting was happening on screen because of the intricate action sequences and splendid visuals but as far as the story went, it was still nondescript. However, that was not at all a problem because the film eventually established the elementary elements required so that we could have an understanding of what was about to happen. Despite its two-and-a-half-hour running time, I was impressed with its pacing. There was an assigned time for getting to know the lead character in terms of his career, his past, and his inner demons. Once I had a somewhat clear idea of his motivations, I immediately felt that there was something wrong with the way he saw the world and the specifics were eventually revealed in an elegant, sometimes emotional, and often mind-bending manner. Their missions were often sabotaged by Mal (Marion Cotillard), Cobb’s projection of his wife who had passed away, due to an unsolved guilt that he constantly pushed away. Throughout the course of the film, that guilt, like Mal, became more powerful and became a hindrance that the main character and his team could no longer set aside. Anyone with a background in Psychology will truly appreciate the film’s level of intelligence in terms of Sigmund Freud’s revolutionary idea involving the subconscious manifesting in our every day lives and maintaining our mental homeostasis. But what impressed me even more was the minute details in the script such as the characters mentioning topics such as positive and negative emotions interacting and which side had more power over the other, one’s sense of reality while being in a dream… within a dream, and even questions like “If we die in our dreams, do we die in real life?” were acknowledged. That’s one of the things I loved about the film: it was able to present ideas we are aware of but it just had enough dark twist to create something original.

As with most movies with grand ambitions, I had some questions left unanswered. What about those instances when we are aware that we are dreaming and we can control what will happen in our dreams? I have experienced such a phenomenon time and again (and I’m sure others have as well) and I was curious if and how the movie could explain such a strange occurrence. And what about those moments when we sleep but we are not yet dreaming? What if our dreams are interrupted? Sure, the team injected chemicals in their bodies to stabilize the feeling of reality in dreams but, as the movie perfectly illustrated, nothing completely goes according to plan. Perhaps I’m just being more analytical than I should be thanks to the fascinating sleep studies I encountered in Neurobiology and Psychology courses. But I believe a mark of a great film is open to question, interpretation and debate. I say we question because we have embraced the material and we are hungry for more. That’s how I know I’m emotionally and intellectually invested in a film. That absolute killer final shot and the audiences’ collective sigh of anticipation for the clear-cut answer as the screen cut to black was simply icing on the cake.

“Inception,” written and directed by Christopher Nolan, was certainly worth over a year’s wait since it was still in pre-production. I remember trying look for more information about it during my midterm study breaks (and getting so caught up in it) so I am completely elated that it was finally released and it turned out to be one of the finest and most rewarding movies of 2010. It may not have been its goal but “Inception” certainly adds a much needed positive reputation to mainstream movies, especially in a season full of sequels and spoon-fed entertainment. I was optimistic early 2010 in terms of the quality of movies about to be released in theaters, especially when Martin Scorsese’s “Shutter Island” came out, but now I am more than convinced that the film industry is experiencing a drought of refreshing and daring ideas. Some critics may compare “Inception” to “The Matrix” (both great movies) but I think “Inception” functions on a higher level overall and it has an identity of its own. Perhaps an injection of new blood that is “Inception” will inspire movie studios to take more risks in terms of which movies they green light. There is no doubt that mindless, swashbuckling popcorn adventures or even extremely diluted romantic comedies have their place in the market. But with the critical and mass success of “Inception,” it shows that audiences are always ready to be inspired by new ideas and to dream a little bigger.

Public Enemies


Public Enemies (2009)
★★★ / ★★★★

Based on “Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933-43” by Bryan Burrough, Michael Mann’s “Public Enemies” stars Johnny Depp as John Dillinger, a notorious bank robber in the 1930’s. Along with his friends, they rob banks but do not take the citizens’ money, have intense showdowns with the police, and find intense ways to escape from jail. Just when I thought Dillinger was simply a tough (yet charismatic) criminal with some immutable principles, he falls in love with Billie Frechette (the lovely Marion Cotillard) and the couple’s bond is challenged by going through myriads of trials. What I love about this film was its action scenes. They reminded me of that infamous scene in “Heat” when all the audiences could hear were silence, rushing footsteps, and guns going off. Those scenes, especially the climactic cabin scene at night, are reasons enough to see this film. Another aspect I liked about the picture was that it didn’t try too hard to be cool. With most gangster films I encounter (even though I enjoy them), at times I’m taken out of the experience. With “Public Enemies,” not for one second was I distracted because the scenes had an innate organic flow despite the film being a period piece. Lastly, I enjoyed the idea that we didn’t know much about Dillinger’s past. There’s something about him, right off the heart-pounding first scene, inclined me to think that how he reacts to certain situations is more important than how he became the way he is. However, this film definitely had its weaknesses. Now that I had more time to think about it, I felt that it was a bit too long. While I did enjoy how the FBI agents (led by Christian Bale) found ways to find their targets (sometimes through illegal means), they were a bit repetitive. I get that Mann was trying to show that there are no good guys but did we really need to see Bale getting theatened by his superiors? Right away, I knew that he was a serious man all about reaching his goals (but still maintaining some sort of ethics) because if he wasn’t, he wouldn’t have been assigned to catch Dillinger. If the film had been about two hours long, it would have been leaner and some weaker extraneous scenes could’ve been cut out. Nevertheless, “Public Enemies” will reward the audiences who are willing to think about the subtleties of each character. If not, then the very realistic action scenes should be more than sufficient.