Greetings again from the darkness. It is difficult to imagine a more heinous crime than killing one's own child. Writer/director Phillippe Claudel understands this and certainly uses it to his advantage in the film.
Count me onboard with the hoopla surrounding Kristin Scott Thomas' performance. She exudes isolation, inner turmoil and loneliness. Watching her ever-so-slow return to civilization is realistic and painful ... both for her and the viewer. Her physical looks (dowdy and dreary with dark circles); her mannerisms (always clutching and covering up); and her speech (mostly grunts, nods and monosyllabic answers) combine for a terrific dramatic turn.
I found it most interesting how she was initially drawn towards the police captain, who turned out to be as miserable as she; and the grandfather, who could only communicate through post it notes. Her small shots of comfort came through these most unusual sources, at least until she began to trust life again.
Elsa Zylberstein (one of the worst screen names) is not garnering much attention for her critical role as Juliette's sister. Personally, I thought she was outstanding and very believable as the guilt-ridden sister trying so hard to make amends, while still tending to the every day pressures of career, motherhood, and care-taking of her husband and his father.
The problem I have with the film is that the story line basically seems improbable at best, an incredulous at worst. I just don't understand how the killing of her son and the subsequent trial could have come off the way it supposedly did. The fact that the reveal occurs very near the end of the film leads me to believe that Mr. Claudel felt much the same way. A must see for KST performance, but you will need to get over the basis for her imprisonment.
Count me onboard with the hoopla surrounding Kristin Scott Thomas' performance. She exudes isolation, inner turmoil and loneliness. Watching her ever-so-slow return to civilization is realistic and painful ... both for her and the viewer. Her physical looks (dowdy and dreary with dark circles); her mannerisms (always clutching and covering up); and her speech (mostly grunts, nods and monosyllabic answers) combine for a terrific dramatic turn.
I found it most interesting how she was initially drawn towards the police captain, who turned out to be as miserable as she; and the grandfather, who could only communicate through post it notes. Her small shots of comfort came through these most unusual sources, at least until she began to trust life again.
Elsa Zylberstein (one of the worst screen names) is not garnering much attention for her critical role as Juliette's sister. Personally, I thought she was outstanding and very believable as the guilt-ridden sister trying so hard to make amends, while still tending to the every day pressures of career, motherhood, and care-taking of her husband and his father.
The problem I have with the film is that the story line basically seems improbable at best, an incredulous at worst. I just don't understand how the killing of her son and the subsequent trial could have come off the way it supposedly did. The fact that the reveal occurs very near the end of the film leads me to believe that Mr. Claudel felt much the same way. A must see for KST performance, but you will need to get over the basis for her imprisonment.