[go: up one dir, main page]

    Calendrier de sortiesLes 250 meilleurs filmsLes films les plus populairesRechercher des films par genreMeilleur box officeHoraires et billetsActualités du cinémaPleins feux sur le cinéma indien
    Ce qui est diffusé à la télévision et en streamingLes 250 meilleures sériesÉmissions de télévision les plus populairesParcourir les séries TV par genreActualités télévisées
    Que regarderLes dernières bandes-annoncesProgrammes IMDb OriginalChoix d’IMDbCoup de projecteur sur IMDbGuide de divertissement pour la famillePodcasts IMDb
    OscarsEmmysSan Diego Comic-ConSummer Watch GuideToronto Int'l Film FestivalSTARmeter AwardsAwards CentralFestivalsTous les événements
    Né aujourd'huiLes célébrités les plus populairesActualités des célébrités
    Centre d'aideZone des contributeursSondages
Pour les professionnels de l'industrie
  • Langue
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Liste de favoris
Se connecter
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Utiliser l'appli
  • Distribution et équipe technique
  • Avis des utilisateurs
  • FAQ
IMDbPro

Histoire de Marie et Julien

  • 2003
  • Tous publics
  • 2h 30min
NOTE IMDb
6,8/10
2 k
MA NOTE
Emmanuelle Béart and Jerzy Radziwilowicz in Histoire de Marie et Julien (2003)
DrameFantaisieMystèreRomance

Julien répare des horloges anciennes. Amoureux de Marie depuis une soirée, il la revoit, mais elle a un comportement étrange. En quoi consiste au juste son secret délétère? Julien est prêt à... Tout lireJulien répare des horloges anciennes. Amoureux de Marie depuis une soirée, il la revoit, mais elle a un comportement étrange. En quoi consiste au juste son secret délétère? Julien est prêt à tout pour percer ce mystère et aider Marie.Julien répare des horloges anciennes. Amoureux de Marie depuis une soirée, il la revoit, mais elle a un comportement étrange. En quoi consiste au juste son secret délétère? Julien est prêt à tout pour percer ce mystère et aider Marie.

  • Réalisation
    • Jacques Rivette
  • Scénario
    • Pascal Bonitzer
    • Christine Laurent
    • Jacques Rivette
  • Casting principal
    • Emmanuelle Béart
    • Jerzy Radziwilowicz
    • Anne Brochet
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    2 k
    MA NOTE
    • Réalisation
      • Jacques Rivette
    • Scénario
      • Pascal Bonitzer
      • Christine Laurent
      • Jacques Rivette
    • Casting principal
      • Emmanuelle Béart
      • Jerzy Radziwilowicz
      • Anne Brochet
    • 24avis d'utilisateurs
    • 33avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 nomination au total

    Photos15

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    + 8
    Voir l'affiche

    Rôles principaux7

    Modifier
    Emmanuelle Béart
    Emmanuelle Béart
    • Marie
    Jerzy Radziwilowicz
    Jerzy Radziwilowicz
    • Julien
    Anne Brochet
    Anne Brochet
    • Madame X
    Bettina Kee
    • Adrienne
    Olivier Cruveiller
    • L'éditeur
    Mathias Jung
    • Le concierge
    Nicole Garcia
    Nicole Garcia
    • L'amie
    • Réalisation
      • Jacques Rivette
    • Scénario
      • Pascal Bonitzer
      • Christine Laurent
      • Jacques Rivette
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs24

    6,82K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Avis à la une

    10Franchini

    Boring is the absence of ideas

    Why do certain people that go to the movies think that (their) being bored is important for the destiny of the world? Why do they keep punching us with their problems of boredom?

    Can't they understand that, to share something with the others, it's important to have some ideas (just a small one, please...) about the movie itself? Do they think that when they proclaim their boredom they are giving to the world some kind of undisputed law?

    Is it so difficult to understand that the Rivette work cannot be understood by the rules of mediocre entertainment? Is it so painful to address the simple idea that Rivette keeps filming the mystery of love? And that he doesn't want to bore us with the vulgar ideas of a vulgar TV-movie?
    7I_Ailurophile

    Beautifully made - less than fully rich and captivating - worthwhile nonetheless (for niche audiences)

    Whether one thinks it more appropriate to place the onus on a filmmaker or on the individual viewer, the truth is that any given film generally has just one chance to make a good impression. Rewatching our favorites is one thing; very rarely do we revisit something that we haven't seen for a long time, and see how it comes across many years later. More often, we'll say "maybe I should give it another chance some time," but we never do, because there are so many other titles to occupy ourselves with. Complicating matters further is that sometimes a picture rather requires one to be in a particular headspace to best appreciate it, and if one is not, the odds of that picture meeting with our especial favor are lesser still. I say all this because to whatever extent I like 'Histoire de Marie et Julien' - and I do like it, very much - I can't help but think that I've done it a disservice. To watch, let alone to read up on the history of the screenplay and the production, it's obvious that Jacques Rivette poured a tremendous amount of hard work and intelligence into the project: themes, motifs, bigger and grander ideas. Maybe it's just me (it probably is), and whether in the moment I sat to watch or perhaps more broadly maybe I'm just not on the same wavelength, but I don't know how much these come across, or how present they truly are in the end product, or indeed how important. If they're not important at all to one's appreciation of the whole, then it seems as though this movie is inherently incomplete in some esoteric way.

    This much is certain: compared to what is surely Rivette's biggest claim to fame, 'La belle noiseuse,' this is far more abstruse in its artistic machinations. Here he and his co-writers blend together drama, romance, and mystery with the supernatural, a sad and ultimately kind of depressing story of love, tragedy, loss, and farewells. Unlike that picture of twelve years prior, in which four hours passed incredibly smoothly and beautifully, these two and one-half hours are most definitely felt as the narrative crawls sideways as much as forward. Down to the last few spoken lines of dialogue I don't know if everything Rivette and his collaborates intended is fully and perfectly communicated, yet be that as it may, and even with the length in mind, by and large I think this is splendidly well done. With or without the less evident intentions I think the storytelling could have been tightened, but regardless there's welcome complexity and lush detail in the writing of the characters, scene writing, and overall plot, and the dialogue tends to simply add another layer of flourish and ingenuity. Similarly, one readily discerns the utmost finesse in William Lubtchansky's cinematography, with more discrete emphasis on lighting than one customarily sees in modern cinema. Not to be counted out, the production design, art direction, costume design, and hair and makeup are all terrific, very easy on the eyes as they lend to the artful airs about the proceedings. In this instance I think the cast are a little less noteworthy than the otherwise construction, but all perform admirably, and of everyone in front of the camera Emmanuelle Béart definitely stands out most; her role requires splits between charged emotions and gratifying nuance, and she navigates that space most deftly.

    As suggested, I think 'Histoire de Marie et Julien' is something I'd appreciate more if I sat for it a second time, and perhaps with a more focused mind. I recognize that there are doubtlessly subtleties here that I'm just not picking up on - or at least, I hope that's the case, because the alternative is that I'm giving Rivette too much credit. Some of my favorite movies share far more in common with this than not; this is an example that just doesn't meet with the same success for me. Even so, I did enjoy this feature, and I think it deserves a look, even if it's less than totally impeccable. Given the pointedly subdued tone this maintains, and the storytelling that's less than completely straightforward, I can understand how this won't appeal to everyone, and I'd suggest it most for those who are already receptive to the more arthouse side of the medium. Yet while the film is no great revelation by any means, I think it's well done even as I see it, and other attentive viewers will unquestionably get still more out of the experience. Temper your expectations and don't go out of your way for 'Histoire de Marie et Julien,' but if you do have the opportunity to watch, it's worth exploring.
    writers_reign

    One More Time

    This is the kind of film in which we are invited to indulge the director in return for the reward of fine performances/lush photography/gorgeous sets/haunting score, perm any three from four. In this case our indulgence is a tacit agreement not to wonder out loud just WHERE Julian gets the commissions to work on a series of outsize clocks in his home/workshop, or how he stumbled on the material with which he is blackmailing Madame X or indeed how anybody in the plot made the acquaintance of anyone else. Apart from Madame X and Marie he appears to have no other contact with anyone despite being middle aged and apparently well established in his large house/workshop. Trying to write a story like this must be like trying to drink from a collander so we badly need the compensation of the aforesaid fine acting, camera-work, score, etc. To some extent they are present and correct but I doubt they will be enough for the majority of viewers.
    gtzam

    Relentlessly challenging cerebral ghost story

    Jacques Rivette's "Histoire de Marie et Julien" is bound to confound or disappoint today's audience, but not the followers of this director's work. The film does not conform to the dominant norms of current film-making that require a solid plot with familiar or identifiable characters whose actions are socially or psychologically motivated in order to have a semblance of verisimilitude. Its characters seem to inhabit more the filmic universe than a real one and a correspondence amongst those two is not straightforward to establish. The situations explored here (blackmail, amour fou, guilt, resurrection etc) and the characters actions are elliptically presented, but they, through a meticulous and extremely precise reconstruction of the filmic reality, uncannily make perfect sense within the narrative, provided that the viewer does not try to interpret the action using concepts alien to the filmic reality.

    The film requires from its audience constant participation to grasp its narrative subtleties and the patent exploration of abstract concepts such as time (cf. the last line of the film is "give me some time"; Julien is a clock meddler), the fusion of dream and reality (the first chance meeting is initially dreamt but occurs immediately afterwards; Marie's dreams command her actions when awake), guilt and redemption (the subplot involving the blackmailed woman and their sister) etc. The cyclic structure of the film with four chapter denoting different, albeit subtle, shifts in narrative perspective invite the viewer to adjust his approach according to the tonal modulations of the unfolding story. The reflexive nature of the filmic story becomes, thus, a vehicle for self-examination on behalf of the viewer of held preconceptions and ideas related to the issues unravelled within the film.

    A uniquely rewarding movie for those willing to be engaged in its narrative discourse. The work of a master.
    7christellecellier

    If I have to be honest...

    This film only works because Emmanuelle Béart is incredibly beautiful and fascinating to watch. Her acting is terrible in this movie ; the scenes in which she is supposed to be in a transe are almost cringy. Yet her magnetic presence makes it all worthwhile. The sex scenes are not exciting but the idea of sex with her (even for a straight girl) somehow is enough.

    It all comes down to casting the right woman because her male counterpart, though a better actor in this, is quite repulsive. Why cast an old, overweight and ugly man as the love interest of such a dreamy woman ? You don't want her being touched by that man and you can hardly believe she would love him so passionately since nothing about his looks or personnality make him stand out in a good way. Quite the opposite actually.

    As for the story, it is really weird, if not completely absurd but again, with Béart as its main subject, you cannot stop watching.

    So basically, if you are not a fan of hers, just walk away.

    Vous aimerez aussi

    La Belle Noiseuse
    7,5
    La Belle Noiseuse
    Nathalie...
    6,3
    Nathalie...
    Nelly et Mr. Arnaud
    7,2
    Nelly et Mr. Arnaud
    Un cœur en hiver
    7,6
    Un cœur en hiver
    Va savoir
    6,8
    Va savoir
    Secret défense
    7,0
    Secret défense
    La bande des quatre
    6,8
    La bande des quatre
    La belle noiseuse: Divertimento
    7,4
    La belle noiseuse: Divertimento
    L'enfer
    7,0
    L'enfer
    J'embrasse pas
    6,7
    J'embrasse pas
    Haut bas fragile
    7,2
    Haut bas fragile
    Paris nous appartient
    6,7
    Paris nous appartient

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Gaffes
      When we see Marie choosing chairs to place in the garret, after she removes the second chair and returns to the garret empty-handed, a small stool is inexplicably where the chair had been.
    • Citations

      Marie: [during sex] I'm a warrior.

      Julien: An amazon.

      Marie: No. I keep my breasts for you, my friend. we're in the middle of a plain, a dessert.

      Julien: Around us, a horde. It's our first battle.

      Marie: I take over, come on top of you. I hunger for you. I eat you till I'm sick.

      Julien: You tear me apart with your teeth, your nails.

      Marie: You eat my sex.

      Julien: It smells like wet soil. I stick my tongue and fingers in. Smell.

      Marie: It's true. It smells like wet soil.

      Julien: You faint. I take you in my arms. I take you...

      Marie: Far... far from the battleground.

      Julien: You wake up... you cry... scream.

      Marie: You will deliver me.

    • Connexions
      Referenced in Un film fantôme: Stéphane Tchal Gadjieff à propos de Jacques Rivette et 'Histoire de Marie et Julien' (2019)
    • Bandes originales
      Our Day Will Come
      Written by Mort Garson and Bob Hilliard

      Performed by Blossom Dearie with Joe Harnell et son quartet, Joseph Harnell (as Joe Harnell) (piano) - Dick Romoff (bass) - Ted Summer (drums) - Jerome Richardson (flute)

      © 1962 publishing by Better Half Music and MCA Music Publishing (Renewed), A.D.O. Universal Studio

      (p) DIW Records/disk union Co., Ltd.

      Avec l'aimable autorisation de Unisersal Music projets spéciaux

    Meilleurs choix

    Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
    Se connecter

    FAQ13

    • How long is The Story of Marie and Julien?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 12 novembre 2003 (France)
    • Pays d’origine
      • France
      • Italie
    • Langue
      • Français
    • Aussi connu sous le nom de
      • The Story of Marie and Julien
    • Lieux de tournage
      • Place Michel Debré, Paris 6, Paris, France
    • Sociétés de production
      • Pierre Grise Productions
      • Cinemaundici
      • Arte France Cinéma
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut mondial
      • 66 543 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 2h 30min(150 min)
    • Couleur
      • Color
    • Mixage
      • DTS
    • Rapport de forme
      • 1.85 : 1

    Contribuer à cette page

    Suggérer une modification ou ajouter du contenu manquant
    • En savoir plus sur la contribution
    Modifier la page

    Découvrir

    Récemment consultés

    Activez les cookies du navigateur pour utiliser cette fonctionnalité. En savoir plus
    Obtenir l'application IMDb
    Identifiez-vous pour accéder à davantage de ressourcesIdentifiez-vous pour accéder à davantage de ressources
    Suivez IMDb sur les réseaux sociaux
    Obtenir l'application IMDb
    Pour Android et iOS
    Obtenir l'application IMDb
    • Aide
    • Index du site
    • IMDbPro
    • Box Office Mojo
    • Licence de données IMDb
    • Salle de presse
    • Annonces
    • Emplois
    • Conditions d'utilisation
    • Politique de confidentialité
    • Your Ads Privacy Choices
    IMDb, une société Amazon

    © 1990-2025 by IMDb.com, Inc.