Die Poesie der Liebe

"Shot with a nimble-fingered, compulsively twirling and rotating camera, MR & MRS ADELMAN freewheels in an almost mercurial form through the tonal discrepancies derived from a mishmash of components: a heady rom-com about a girl sets eyes on her Mr. Right and never let him go, a cynical satire on a writer's block (Victor's unpremeditated fixation with being Jewish, he even alters his bourgeois, Gentile surname de Richemont to Adelman), fame and egregious ego, an astringent matrimonial drama plumbing a husband's sexual frustration and a wife's desperation to hold onto the breadwinner of the family, or a reportage on gender politics within a nuclear family, but between Victor and Sarah, the one who gets the oneupmanship is evident along the way, as the story is as much an affirmation of a wife's high-wire maneuver of molding her husband into the man she wants (if not necessarily she worships) him to be, even without that final volte-face, as a no-holds-barred dissection of a tumultuous relationship that often blights a middle-class union where self-efficacy is foregrounded."

A virtue and a sin, in same measure. All the nuances of French cinema are present in this seductive-bitter drama in which the humor and the irony, the cynical levels and the cruelty in different forms, the love and the fall of love, the fears and the joy are reflected in strange and precise manner. But, it could be perceived as only a correct use of old recipe. The characters, the dialogues, the crisis, the stranger front to confessions of an old lady, her words changing everything again and again are good points because they are familiar. I love this film exactly for its French flavor, for the status of travel across influences and suggestions, for the cold honesty and for the precise traits of the characters, for the status of story about survive and for the last confession as basic proof of a great love story , more profound if you see, again, from the first scene, this profound seductive pledge for be part of the other.

This film veers between Woody Allenish interactions and social observation, "Scenes from a Marriage" and "The Wife". (If the latter film had not come out so soon after this one, it would be tempting to find a distant model for it here.) Sometimes it is wickedly funny to the point of biting satire, sometimes it is idly absurd, for long stretches it is touching in the way of any intimate look at a marriage. While it has many comic moments, it is distinctly NOT a comedy. It is rarely unwatchable, but does go on too long after a while. While there's a lot to be said for the different sections, they don't always add up to one film. A surprise for American viewers is Ronald Guttman in a colorful and very ethnic turn.

A movie as we never seen in the french landscape. A beautiful story of love. Doria Tillier is a great actress. Furthermore, the twist at the end show the genius in the Bedos' direction.

classic french cinema, full of psychoanalysis. fast moving witty and indiscreetly correct dialogue for those needing subtitles. what comes as surprise is the revelation, or at least the unmentioned-until-absolutely-necessary of who the madame is. this gave a entirely different, while parallel, level of information about madame and her extended family. we see only what we are allowed to see, but only once the viewer had been prepared. the essence of what is communicated can have other sources, other motives. as expected sex is in full Freudian motion and this particular French relationship is more passionate drama and manipulation than romance. poor guy was out of his league. viewed as unstated confirmation it will be liked in Hollywood New York, but, what with the state of things, it worries me. if possible, see the most excellent 2014 Turkish film Kis Uykusu, to understand how compassion is missing in the French film.

it is definitely worth seeing both as entertainment and education. could even change your world view. 7 of 10