Wenn die Flut kommt

Have you ever felt angry, and I mean infuriated over a movie just because it was lousy? I did. Several times. I was furious at the Waschawski brothers after viewing the incomprehensible Matrix reloaded. I was disdained of Mel Gibson after realizing that Lethal Weapon 4 turned out to be a miserable piece of cinematic, hmmm, bodily secretion. In the past I used to believe that my anger was derived from the fact that I wasted a share of my residual income to watch it. after watching this film I believe I figured out the real reason. I'll get back to that later.

Irene (Yolande Moreau in a Terrific performance) is a comedian doing a one-woman comedy act that runs well all over France. In every show Irene's character,a Middle aged, mask wearing woman chooses a volunteer from the audience to "fall in love with" and to establish a stable future until the end of times or at least until the show is over.

At a certain point, one of the volunteers, a Flemmic guy named Dries (Wim Willaert in a superb performance as well) who, it seems, has a big heart and a not a matching cerebrum, forms a friendship with Irene who, at that point in time, seeks a friendly companion in a lonely business where the vast majority of the conversations with one's loved ones, are done over the phone.

Time goes on and the evolved friendship continues. Irene tours in some other location and continues her fling with Dries, finding comfort in their childish behavior and conversations that are comprised of life altering declarations like "Life with you is nice".

If you want to get the hang of the film, read the last paragraph about six more times. Consecutively.

Throughout the film a thought had entered my mind: Why this film was made in the first place? The script has a few good moments but no climax of any kind, the plot is close to non-existent, the romance between Irene and Dries stagnates on most parts and even the seemingly funny comedy act of Irene doesn't garner any laughs from those who are located outside the movie.

That's what I find to be so insulting. Bad movies were made and will continue to be made, I know that every time I purchase a ticket. What I DO expect to see in every movie made is a story, a detailed turn of events designed to leave the viewer awe inspired or at least entertained. I'm sure there was a reason why Yolande Moreau chose this film to be her directorial debut but I just haven't figured out what that reason might be.

This film has its perks, though, and a major plus of this film, aside from the great acting, is the look on the french quaint little cities that are not part of the France tourist guide. 70 million tourists visit this country every year and they leave thinking that France is either Suave-Paris or sun Laden Riviera. This movie shows, and shows well, the France beyond the postcards.

This portrait of France for some reason, left quite the impression that the main story failed to leave. If you ever came out of a restaurant feeling that the good dressing was wasted on a poorly made steak, than you know how I felt at the end of this movie.

4 out of 10 in My FilmOmeter.

That movie is very sweet. At first, you can't help asking yourself what kind of asylum you've been to, but quickly the story takes you and you live the story with the characters.

The movie is about the loneliness of artists on tour, the kindness and simplicity of people from the North of France and last but not least, it is a nice love story between ordinary people.

Yolande moreau is famous in France thanks to Les Deschiens a TV program. For her first direction (actually co-direction), she chooses the perfect story. As an actress, she is also marvelous.

Go and see it if you can, that's worth being seen.

Its a film that captures the intimacy of feelings in a very honest way, the photography and choice of scenes is superb and the additional excellent soundtrack just help to magnify and intensify the emotions of both the characters and the audience... the acting is honest and convey the feelings of the characters in an intimate way, as an artist myself I was connected to the story and experiences portrayed there, the love story which is portrayed is both honest and complicated and there are this magical nonsensical moments included

I would recommend this movie from my heart to anyone who love good quality cinema but especially to artists and for the traveling type of artists- I think it would touch their hearts!

While The Tide Rolls In details the flingy romance two schleps get into. The female is a sort of a unattractive, yet successful performer, doing a DREADFUL one woman show. The guy seems to be a desperate creature who is one short of a stalker when he follows her around after a show in which she chose the guy to join up on stage with her. After he keeps showing up, rather then phoning the police, the woman sort of FALLS for the guy. Now, if that's not really the WRONG thing to do, then I don't what is. Anyways, they go up and down the coast of France to perform her silly clown one woman show to large theaters (yeah right) to seniors homes (more likely). Anyways, they learn a lot of each other, and well, that's about it.. Pretty unremarkable.

An attractive and unsettling film about how we act when placed in unfamiliar situations, and how relationships can creep up on us in spite of ourselves.

The characters are cleverly handled - the female lead, comedian/actress Irène, is touring Northern France with her one-woman show, in which she plays a hideously masked widow with a horrible secret. The show is ironically titled "A dirty business: sex and crime". Yet she appears comfortable in this role, and has a settled family life, evidenced in her cellphone conversations.

The male lead, on the other hand, despite his uncertain role in the conventional socio-economic matrix (he is frequently described as a "drifter" in many reviews), also challenges the viewer's easy assumptions by displaying strong moral, artistic and cultural roots. It is he who challenges himself by joining in Irène's show, and who ultimately displays the stronger moral sensibilities. He also has a sympathetic circle of friends, and a happy social life, which contrasts sharply with Irène's lonely hotel nights.

These complex characters retain our sympathy throughout, while continuing to unsettle us. Each of us, in our lives, whether we are like Irène or Dries, is only a choice (whether good or bad) away from entering a strange and possibly wonderful, possibly damaging relationship.

The quirky, alienating sets (including a steelworks and a Flemish giant-maker's workshop) and geographical location (straddling the Franco-Belgian border, where Flemish and French cultures overlap) add to the film's interest, and give it a powerful sense of place. Dries himself is a native Flemish (Dutch) speaker, and the return to his adoptive parents' house, which provides a brief (unsubtitled) plunge into the Dutch language, is bewildering for both the viewer as well as Irène (although the actress playing the character is herself half-Flemish).

Ultimately, the film is both sad and uplifting, and challenges our assumptions about the way we value individuals on the basis of their roles in society.