Racconto di Natale

A long drawn-out tale of a father bringing his dysfunctional family together at Christmas after Mom is diagnosed with a rare form of cancer. The actors are in fine form, and the situations are realistic, but there is scene after scene of bones to pick, icy silence, and family members constantly telling each other (over and over) how much they like don't them. In addition, all of the characters have individual scenes with each other: mother and son, mother and daughter, mother and son's girlfriend, father and cousin, father and daughter, grandson and.... etc., etc., etc. I had some head-scratching moments too where major insults and fights in which I expected a full dramatic blow-up were met with a smirk or complete indifference. If it were slashed in half, (well, at least by a third), this film could have been just as effective.

A plethora of awesome actors in perfect symbiosis, refined dialogues, a sense of humor very dark and even cynical, jubilant duels between brothers and sisters, a surrealistic conversation (a kind of 'I love you, neither do I') between a mother and her son, probabilistic calculations on life expectancy, ... It is a real delight but definitely not a Christmas tale. I loved this atypical, dysfunctional and weird family!

I can't say I'm a huge fan of Arnaud Despleshin's films, but of all the ones I've seen, this is my favorite. The first few scenes of the movie, with its flashbacks and quick cuts seem disjointed at first, but it does really quickly pull you into the family situation. And when the family does finally arrive altogether at the Vuillard house, you almost feel as if you're one of the guests. All the actors are wonderful, but I must say that Amalric, who almost always plays this type of character in Despleshin films (Kings and Queen, My Sex Life, etc.) is terrific in this film. He's much more likable here. And Emmanuelle Devos has such presence in this movie that she steals pretty much every scene she's in. The rest of the cast, Deneuve, Rousillion and Cosigny are all terrific.

I love how the script deals with so many subjects, not only of the family history and Junon's need for a donor, but also touches on everything from mathematics to philosophy to literature, to all types of music, religion, and all geared towards how all these things enhance, and does not consume, the life of the family. It was very refreshing to see this family, although messed up in so many ways, to live free of convention, children curse, everyone's smoking and/or drinking, telling each other what they really feel and think and/or not feel and think. I also liked that the house felt like a house that people actually lived in.

This is an extremely dysfunctional family. Everybody seems to be aware of their part in it and don't really care.

The great engine is the alcoholic son, who provokes everyone. One tool is the fact that his mother's got cancer and he and his nephew are the only one who can save her. The alcoholic uses it for attacks on the family and not at least the mother. And the characters are forced to develop, not necessarily for the better.

The humor keeps you interested in this chamber play and the 145 minutes never feel long. A quite French movie, but fully appreciable for all of us. A Christmas tale which is both dark and light.

It just doesn't get much better than this for fans of movie-making…or fans of music, art, literature, philosophy…even algebra? Arnaud Desplechin uses Robert Altman's impressionistic approach to film-making taking multiple characters, plots lines then adding Altman's playfulness with cinematic technique to dazzle the viewer with a rich mix of ideas and allusions. Watching, you just don't want it to end.

The actors here—as in Altman—take center stage. Catherine Deneuve is the reluctant matriarch of some pretty messed-up siblings. We aren't ever clued in on the exact details of the rifts and jealousies. We just recognize them from our own family experiences. During an introduction to the cast of characters at the beginning of the film, the death of a young infant early in the family's history suggests that interpersonal problems will result, but it can't be the sole reason for the pathologies represented. As in life, it's never a simple thing to find the "reason" for conflict, unhappiness or even joy. We simply have to accept it and make the best of the situations before us. And this film is a wonderful demonstration of making the best of a real mess.

There's not a weak link in the cast. And as the bizarre begin to assemble for a very strange Christmas homecoming the delight we feel for being onlookers instead of participants is palpable in the audience.

I should warn that this is not a film in the tradition of "Home Alone" or "A Christmas Story." You may wait a long time for the Baby Jesus to arrive here (as the children on the screen do). It's more a film about family life and the peculiar kind of fulfillment we get from the strife that results. As with the "ghost wolf" in this family's basement, we're haunted by the familiar and the strange: it's both fearful and thrilling to see. And that's a very admirable accomplishment for Arnaud Desplechin.