La vita è una danza

We are treated to some fine ballet at the start of this film before prospective star "Elise" (Marion Barbeau) goes over on her ankle. It's not the first time this has happened, and the prognosis from the doctors is not good. A broken bone and loads of swelling might necessitate surgery and, well, no more dancing. That news takes a bit of getting use to, but "Elise" is not one for sitting moping. She discusses things with her parents and decides that a bit of physiotherapy helping out a modern dance troupe in Brittany might be the answer. At least it will give her a break from her dizzy dad (Denis Podalydès). Her arrival is welcomed and she soon settles in, being asked to help out one of the dancers with his routine and reminding her that this more to life than dance. Extending from that scenario, there's quite a fun scene with her ponytailed physiotherapist "Yann" (François Civil) who tells her, hopefully, that she should meet someone. His crestfallen face when she says that perhaps she has is almost sad, and it worsens when she declares it might be "Mehdi" (Mehdi Baki)! Essentially, this is a film about her and her compulsions. To dance and to herself mainly, and Barbeau is on good form delivering a character that has had her future snatched from her, but who is undeterred in making a new one. It has elements of "Fame" (1980) to it - a group of otherwise unlikely friends who are drawn together by their love of dance, music - and peeling potatoes. Pio Marmaï adds value, too, as the rather whacky cook "Loïc" and all in all I think this is quite enjoyable to watch.

This film actually started promising with the ballet scene, but very early it was clear what is going to happen next. And After 20 minutes I knew exactly how it's going to end , and indeed no surprises. Everything I predicted happened.

I liked the photogenic like cations, and young people do look well on camera, but that's it. The reminder of this film was mostly looking like self promotion or documentary for the Israeli choreograph, and a lot of fillers in between the almost no existing plot.

So while the dancing parts are ok or entertaining at best, there isn't much else' to draw anyone in.

This film is Recommended ,I guess, for french people, who like to indulge on their high culture, or people who like modern dance. There is no much of actual film beside it.

.... i profoundly loathe Classical Ballet for a series of reasons .... it looks like it belongs to a past we do not want to be reminded of ..... but and I do not particularly like Modern Ballet either yes a difficult customer but i love dance when it really comes from inside and then all the prejudices melt away

I did not know who the main dancer Marion Barbeau here was how revered she is; but when I saw her move in any genre there is no mistaking The Shakti the liifeforce the energy of life itself ; when she walks in normal civilian stance there is nothing to see; and then a switch goes off and magic happens ....

The story is fair to good; the other players (Denis Podalydès as the useless/hapless father and the mention of D'ormesson is a gem) and dancers and also very good the street dance with the Music of Can and Jaki Liebezeit from 69 or 70 which the youngsters term hiphop here (yep) and which really sounds so unbelievably fresh 50 years later and not out-of-date moves them in ways which are astounding; gymnastics and dance-wise

This film is a paean to The God of Dance and an absolute must-see/ Apparently was filmed during covid time; so it was not a wasted year for all :)

Thank u Mr Klapisch for this feast.

... as if your life depended on it ... or at least your health! No pun intended of course. The movie has dancing front and center ... but also life and things that happen to you that you can't control. Similar to actors, dancers may have issues with anyone telling them they can't do what they want and urge to do. What is life worth, if you can't do the one thing, you think is worth living for? That's a rhetorical question, though feel free to answer it for yourself.

The movie has quite the performances in it and it really is well made. The drama works, the storyline works - and the "twists" work. I would say that you can guess where the movie is leading and the ending will not be a big surprise. Yet the way it is built up ... the way it is life affirming overall ... well that all are points that hopefully will sway you ... and make you be entertained by this. Obstacles are there so you can overcome them ... nothing is impossible? Maybe ... maybe not. But try you must ...

What a fantastic tribute to dance, to creation, to the fact of reinventing oneself after a hard blow ! Cedric Kalpisch delivers a beautiful film reinventing his own cinema, making it "rise" to a high standard of aesthetics, which was not his best point so far.

First of all, let me underline the fact there is a clear pun in the French title "en corps" which would mean "into the body" or "by the body"... and again and again which is said "encore" in French.

For those who don't know much about the director of "en corps", Cedric Kalpisch has been a huge and popular French director of funny comedies in the 90's and the 00's. Some of Cedric Klapisch's main films became cult movies for my generation: The Good Old Daze, Family Ressemblances, or the Erasmus cult film called "Pot Luck" in 2002. Since then, it has been very difficult for him to renew his style, and reach his prime again.

For the first time in two decades, he's managed to find a new theme, a new style and has made a pleasant, interesting and beautiful film. That's why I allow myself a little review about it because it's really worth this time.

The film focuses on the physical, mental and sentimental reconstruction of its heroine, Elise, an injured dancer who must invent herself again at the age of 26. One of the feature of the film is the portrait of this heartbroken dancer, who is wisely played by Marion Barbeau who is quite convincing as a beginner actress . Another feature is of course the way he depicts the dance and the creation of contemporary dance, the energy of the dance itself, the freshness of the young dancers and their relation with classical dance. It's really fascinating and the participation of the Israeli dancer, Hofesh Shechter, is really a brilliant input.

The complex and suprising recovery of the main character reminds us that Cedric Klapisch knows how to portray complex, sensitive characters with broken and disturbed destinies. Despite a rather simple plot, you get surprises along the way and genuine laughters.

Her bleak fate (at the beginning) is enlightened by funny appeareances and the help of experienced actors such as François Civil (her physiotherapist) who is just hilarious,but also Pio Marmaï (the cooker) or Bruno Podalydès, (her father) who provide welcome humour, as well as depth in the story and above all they allow to have some hope for the rest of the film.

Klapisch really surprised me with the way he depicts the art of choreography (it's absolutely magnificient) in its various forms, aestitically speaking but most importantly respecting a fluidity in the film that allows us to be captivated by Eloise's fate throughout the film and understand it through dance moves.

En corps ("rise) is a fine way for Klapisch to renew himself, without denying himself. I am convinced it will be remembered as one of his most important films.