Avaliações de usuários

This movie is much more confusing than it needed to be which makes the immersion in the story very challenging at the start without any big payoff for the effort. It's just a way to try and make the movie seem more interesting than in reality is. Well shot and acted.

Sibyl wants to stop her psychiatry practice in order to write the next great French novel. But not before she agrees to treat a pregnant girl who is in love with a famous actor. Fast forward a few weeks, and Sybil is suddenly in the middle of a Love triangle (or is it trapezium?), that opens old wounds and make her question her perception of reality. Who needs therapy now?

Independent director Justine Triet has been praised by the critics for her previous works that underline social and political problems. Here we deal with a crisis of a domestic nature and one wonders if the film is based on the director's personal experience. SYBIL cannot be called feminist even though it features plenty of strong women making tough choices. The problem is that those female characters are all despicable and hardly inspire any sympathy from the viewer. The story is patchworky and, while intriguing, it takes a long time to get to the meat of things. Erotic scenes while well made seem irrelevant and the plot itself is hard to define - it's like it was re-written in the last minute. And we are left wondering what it was all about.

Filled with great performances from all Involved, and with its decent cinematography, the movie mostly suffers from the story's inconsistencies and a lack of focus. Overstuffed with ideas which are plenty but never quite make it whole the film struggles to find its identity and borderlines on any piece of entertainment's worst enemy - which is boredom!

The trailer was classically misleading. I did not expect a pale remake of Providence (1977) directed by Alain Resnais.

In short: 1) Sibyl has a few undisclosed skeletons in the closet and manages them while drinking abusively. 2) Sibyl is a shrink and the border between her private life and her professional life does not exist. 3) Sibyl is a writer and she draws inspiration from her own surroundings. Thus, given these three points, fiction and reality are quickly confused, for Sibyl first and for the audience even more.

Although the actresses Sandra Hüller and Adèle Exarchopoulos are outstanding, this story of a lost woman suffering of emotional distress is globally boring.

I was somewhat skeptical before entering the theater, thinking it would turn out to be another boring film about white people surrendering themselves to hordes of therapists, french woman suffering from romantic distress and so on. However, the writer/director cleverly managed to create a layered portrayal of the protagonist shrink and the world she lives in - blending in her present life, her past, the fiction novel she's writing and the movie her patient stars in. The script is mature, quirky and unpredictable enough to handle these four layers without becoming pointless and confusing. The performances are stellar, especially of Sandra Huller as the temperamental film director.

There is no dearth of past french films handling similar material. Yet somehow this film appears fresh and profusely entertaining.

It could be a kind of french Mulholland Drive. The materials where there: the affections of the past, the psychological insight, the fiction inside the fiction, fantasies, memories...

A failed writer retakes her old dream to write a beautiful novel, but her lacks of inspiration block her... until she met an actress, who tells her about her troubles. Quickly Sibyl sees a paralelism with her past, about her frustrated love with a man that bring her a passion and then another trauma related with a son they had. Sibyl lost her literal aspirations and her love and in ten years she discovered herself having a life that is safe, with some client as therapist and a husband that gives her estability. But none of these are now valid items to her.

The materials, as I said are good, but by one side the dialogue is too melodramatic, sometimes the scenes turns cartoonish and melodrama doesn't fits very well with the tone of the film, a psychologial drama. The scenes are also too repetitive, once we understand her old past love was very passionate, we don't need three more scenes of kissing and stuff.

By other side, the other characters, aside form Sibyl, doesn't feel with depth, something is missing with all of them.

It's a pity, because the idea is very good. A lost opportunity.

Actors can be ... difficult. But Psychotherapists can be insane too ... wait what am I trying to say here again? I guess I am trying to make a point ... like the movie is. Kidding aside, people in general can be tough to read and even tougher to "cure" - especially when the one doing the curing has issues of her own.

A strange little movie that can, but that also is strange to say the least. You have to suspend your disbelief quite a lot and go with the flow. Having a love for making movies and understanding what can go on behind the scenes (it almost feels like someone is doing their own curing by doing the movie - the writer, the director, producers ... all of the above and more?) ... Interesting aspects and quite a lot of sexual tension! And one of the best drunk acting performances put on film! A strange drama/thriller, that will appeal to some and will annoy others - but it is very well done!

This film is a mess of unsavory characters and bad, ridiculously unlikely decision. Some of the acting is good, the storyline is silly, the sex gratuitous and graphic. There is not one interesting character. Despite the attempt to give some background to why sybil is so messed up (an absent mother from whom she distanced herself and a sister who gives sybil's children lectures on how to be manipulative) it's a fail all around.

I can't recall seeing a film with so many good and great elements: cinematography, acting, a good deal of great dialogue, that was assembled into such a let down of total experience. It is like observing a kid who is smart, has everything, goes to he best schools -- yet goes nowhere in life.

I don't know where this project went wrong. Was it deep flaws from the beginning and they went ahead without resolving them, or was it some kind of creative fight in post production, perhaps about comedy vs drama as the goal in editing?

... Which is in a way a follow-up to the film called in bed with Victoria or in French simply "Victoria".

• Again a career woman in this case a psychotherapist in the case of Victoria a lawyer Virginie Efira confused Unsure of herself going through a breakdown and connected to writing this time she wants to write. This is so depressing I bailed out after half an hour you could see where it was going and it was nowhere good.

• The main actress is so mesmeric so beautiful so captivating; but this time even her beauty couldn't keep me there. This is made by the exact same director who made Victoria and it seems to me that this is the same story but stretched deeper in the direction of darkness; a tale of an exploding careerwoman.

• I shouldn't really be reviewing this since I didn't see the whole thing but I got a sense of it a sense of doom and despair and hopelessness which did not make me wanna carry on seeing this...saw "20 ans d'écart/It Boy" One night Victoria the next and this is the third night.

So basically I went from a really funny comedy to tragicomedy into this the depth of the bowels of the volcano following the works of this actress

It is obviously well put together in terms of filmmaking the director Justine Triet is very competent but Jesus do we need more dire stories about lost aimless people??? .... as others wrote in the reviews waste of opportunity.

Having watched and been enthralled by Triet's superb Anatomy of a Fall featuring an excellent Sandra Hüller, I sought out their previous shared feature Sibyl with some excitement; only to be sorely disappointed. Here the oblique and allusive style fails to entrance or in fact even entertain. The image for me is of that carefully constructed style aimed perhaps rather over thoughtfully like a hammer at an intricately fashioned nail...... and being brought down well wide of the mark. Sadly much less than the sum of its parts. Complexity for it's own and not the story's sake. Cloyingly erotic rather than sexy I'm afraid, and emotionally flat.

So often French dramas are sad, depressing, and confusing. That is the case here. I wanted to like somebody! Everybody seemed like a big mess. I do like to see Adèle Exarchopoulos because she has a way of drawing you in with her smile or even her messy crying. She's gotten even better since "Blue is the Warmest Color" (which was another depressing French movie, but not confusing. The love story was clear, even if it was sad).

The male characters in Sibyl were shallow, not well-developed, and almost interchangeable. But clearly this was not about them. It was about a woman who lacked self-awareness, despite her education and even her job as a psychotherapist.

This film kept me in its grip, and I enjoyed every twist and turn as the plotlines unfolded. The acting was superb and the main characters were complex, compelling and elusive.

I'm quite surprised to see such low ratings, but to each their own! To me, the film's seemingly disparate elements/themes (e.g. Trauma, depression, addiction, grief/loss, desire, deception, vanity, power, exploitation) came together to paint a beautifully absurd portrait of the human condition.

In particular, the film seems to emphasize the ways that we naively cling to earthly vices/pleasures and deceptive/delusional narratives in our fights against feelings of disillusionment, meaninglessness and hopelessness.

Such an unconventional movie, with a great cast . The story is twisted , in many directions but it comes to Sibyl's conclusion , "my life is a fiction ...." Then perfect setting with the Stromboli ;) Sensible , smart , great photo... . and bravo to Virginie, Adele, Gaspard and Nils .

This is quite an interesting film and, unlike some other reviewers here, I really enjoyed the central performance. Disturbingly like Jennifer Lawrence at times, Efira handles the variety of tones and context very well, I think - despite the film deliberately taking her all over the place emotionally. I used to think that "Blue is the Warmest Colour" was the most snot-laden film I had ever seen, courtesy of Adele's copious crying, and she is well-chosen to deliver similar over-the-top distress here. In contrast, I didn't much like the director character, and for me the men were a bit too interchangeable.

Worth a look though.

First, the acting is less than perfect but as the film advance, it is more and more right on. The story is complex and simple and psychological and makes sense hilariously. We see gifted people and the replies keep in originality. Nothing predictable and all characters are bright. A delight of a film that has many loose strings hanging after it's over.

Too many scenes' discrepancies...., story/script way-out irrelevant ... ; what a waste of ( potential ) talents!?....Editing is , at best, ... irrelevant !?