(brief report from the Toronto International Film Festival)
The last French film I saw surrounding the relationship between two sisters I was "Les soeurs fachees" in the Hong Kong International Film Festival. While was "Les soeurs fachees" is essentially a comedy and "Il y a longtemps que je t'aime" sombre drama, there is poignancy in the former and humour in the latter that afford them a measure of comparability. The bigger difference, however, is that "longtemps" has a definite focus on one of the two sisters. This film has been characterised variously as Kristin Scott Thomas's "career-best" and "career-defining" performance. Elsa Zylberstein's contribution to the film, however, is no less significant. One could even say that she has a more difficult job because her character is less dramatic and therefore more difficult to bring home.
While this film is not intended to be a mystery or suspense, it is structured in such a way as to disseminate the information about the main character Juliette (Thomas) on a "need to know basis", as someone aptly puts it. As this is indeed the best way for the audience to experience this film, I will not spoil it with any details. Suffices to say that the simple plot evolved around what happens following Juliette's release after 15 years in prison (this fact is disclosed 15 minutes into the film), a period when she stays with her younger sister (Zylberstein) who was a teenager when she was convicted and never heard from until two months before her release.
The "suspense" of what happened 15 years ago is no doubt an important element in the film. However, this film is nowhere near to "What ever happened to Baby Jane" (1962). In "longtemps" there is another other equally important premise - how a woman, after spending 15 years in prison with an unspeakable grieve readjusts herself to face the world again. Thomas portrays the transition with impeccable excellence.
While this is the story of an excruciatingly painful journal of a woman, it is well balanced with flashes of humour, which are not merely incidental but also serve to trace Juliette's slow process of freeing herself from her "inner prison". Along the way, there are various people, in fleeting encounters as well as deeper relationships, played by a solid, competent supporting cast. Co-lead Elsa Zylberstein's lovingly wonderful portrayal of the younger sister I have already alluded to.
Rather than becoming a gloomy (albeit well acted) experience, this film softens the agonising story with heart-warming moments, sprinkles of sense of humour and hope in the end. The soft, tender guitar in the background also helps.
The last French film I saw surrounding the relationship between two sisters I was "Les soeurs fachees" in the Hong Kong International Film Festival. While was "Les soeurs fachees" is essentially a comedy and "Il y a longtemps que je t'aime" sombre drama, there is poignancy in the former and humour in the latter that afford them a measure of comparability. The bigger difference, however, is that "longtemps" has a definite focus on one of the two sisters. This film has been characterised variously as Kristin Scott Thomas's "career-best" and "career-defining" performance. Elsa Zylberstein's contribution to the film, however, is no less significant. One could even say that she has a more difficult job because her character is less dramatic and therefore more difficult to bring home.
While this film is not intended to be a mystery or suspense, it is structured in such a way as to disseminate the information about the main character Juliette (Thomas) on a "need to know basis", as someone aptly puts it. As this is indeed the best way for the audience to experience this film, I will not spoil it with any details. Suffices to say that the simple plot evolved around what happens following Juliette's release after 15 years in prison (this fact is disclosed 15 minutes into the film), a period when she stays with her younger sister (Zylberstein) who was a teenager when she was convicted and never heard from until two months before her release.
The "suspense" of what happened 15 years ago is no doubt an important element in the film. However, this film is nowhere near to "What ever happened to Baby Jane" (1962). In "longtemps" there is another other equally important premise - how a woman, after spending 15 years in prison with an unspeakable grieve readjusts herself to face the world again. Thomas portrays the transition with impeccable excellence.
While this is the story of an excruciatingly painful journal of a woman, it is well balanced with flashes of humour, which are not merely incidental but also serve to trace Juliette's slow process of freeing herself from her "inner prison". Along the way, there are various people, in fleeting encounters as well as deeper relationships, played by a solid, competent supporting cast. Co-lead Elsa Zylberstein's lovingly wonderful portrayal of the younger sister I have already alluded to.
Rather than becoming a gloomy (albeit well acted) experience, this film softens the agonising story with heart-warming moments, sprinkles of sense of humour and hope in the end. The soft, tender guitar in the background also helps.