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Détails sur le produit
Making of (59')
Descriptions du produit
Description du produit
L'Enfer, 1 DVD, 95 minutes
A Paris, dans les années 80, un homme libéré de prison est rejeté par sa femme. Une violente dispute s'engage sous les yeux de leurs trois filles, témoins du drame qui s'ensuit. A Paris de nos jours, Sophie, Céline et Anne, les trois soeurs maintenant adultes, vivent chacune leurs vies. Le lien familial est rompu. Un jeune homme, Sébastien, va entrer en contact avec Céline. Plein de charme, il semble vouloir la séduire. La surprenante révélation qu'il va faire à Céline va rapprocher les trois soeurs, leur permettre d'accepter leur passé et, peut-être, d'oser vivre pleinement le présent...
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La photographie est très soignée, avec un souci constant d'esthétisme.
Ce film est paré de toutes les vertus sauf une : le scénario. L'histoire est confuse, la narration pesante au point que l'on s'y perd. Les plans se succèdent dans des méandres et des circonvolutions hermétiques qui poussent à quitter le film avant la fin.
Bref, on s'ennuie ferme.
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Where was Piaf when we needed her?
The first was the extraordinary "Heaven" by Tom Tykwer, which was closer to a finished script.
Hell is an amazing film. Daniel Tanovic forgot the inevitable foreign language winner destiny of slumming in Hollywood for a big budget crap film, and instead, went for the difficult task of making an homage to the master polish director, and at the same time putting his personal seal on the work.
"Hell" is both. Tanovic's direction is brilliant. Almost as if Kieslowski himself was wondering on the set with his cigarette in hand. The whole precept of the story is the past, its secrets and how they determine our lives (or the three sisters' lives). A whole discussion about faith, destiny and coincidence goes on around the whole movie, setting up the piece and mindset of the viewer. This is a bit less subtle than Kieslowski himself would do it, but works nevertheless thanks to the amazing performances on all the cast.
Tanovic placing of the camera is faultless, his transitions between the stories are sometimes dazzling, and his use of music had so perfect timing it gave me goose-bumps more than once.
As, in Three Colors: White, "Hell" finishes with a bang (don't worry I won't spoil it), a single phrase that hits us in the face.
This is one wonderful art film that deserves a better DVD edition, in the meanwhile we can watch and submerge in its deep dark guilt trip.
As they all suffer in their private hells, made worse by slight glimmers of hope, the truth about their father's prison sentence for seducing a young male student finally comes to light, leading to... well, not very much, really. Once the not very surprising cat is out of the bag, the film doesn't really know what to make of its rather underwhelming revelation. The punchline is a song title, though when it's delivered you might find yourself thinking Is That All There Is? may have been a better choice.
The presence of Emmanuelle Beart, increasingly a monument to France's collagen and silicon industries as she unwittingly turns into a Tex Avery cartoon, almost sounds a warning note: this is her second film called L'Enfer after Chabrol's misfired 1994 of an unfilmed Henri-Georges Clouzot script. It's hard not to feel that the reason both projects never saw the light of projector with their original creators was because ultimately there wasn't quite enough there to justify the effort. Certainly there's the feeling that Kieslowski's reputation has assembled a more formidable array of talent than the same material from an unknown source would have done. In some ways, the impressive cast occasionally threaten to swamp the film. While it's always a pleasure you see Jean Rochefort, his casting in a bit part adds nothing to the movie but more weight of expectation that remains unfulfilled: he really has nothing much to do. Indeed, it's significant that it's Georges Siatidis' smitten train conductor who leaves the most lasting impression in a minuscule role rather than any of the heavyweights. It's by no means a terrible film, and it certainly holds the attention en route to its anticlimax.