O Último Dia em Que Ficamos Juntos

"...Chez Nous" looks at this compelling question through the life of one Aussie woman who's self esteem is constantly undermined by the men in her life. This film is a psychodramatic, realistic, and intelligent look at the clockworks of a nuclear family held together more by mutual need than love and respect. The camera studies the slow disintegration of the family unit and the rebirth of Beth (Harrow), the principle character. Well made, earnest, honest, and insightful. An interesting watch for more mature audiences.

Beautifully photographed and directed film, contrasting a family home with the outback, and characters trapped as much by themselves as by those around them. The road trip does not liberate the woman much, though she gets to learn her dad's views on God. Good acting all round, especially Harrow and Hunter, this is purely character driven, and what is predictable about it would be equally so in life. I liked the later scenes where the French husband begins to see his error. (One thing though: when they got the German Bruno Ganz why not change the character to German too?)

A movie without character. You get nothing and it's just 1 hour and 33 minutes of your life getting wasted. More happy writing my criticism right now than watching this movie.

This film is a favorite gem. It is Bergman like in its convincing depiction of family relationships and emotions. It's a very round presentation of life - it shows the comedy and pettyness. You really feel the air of grief in the family. The cinematography is crystal clear - as if the family is being studied under glass. It mostly takes place at home but there's a liberating road trip.

If you like character study dramas what this one.

I liked My Brilliant Career back in 1980, but after seeing this effort from the brilliant turned masterful Ms Armstrong I suspect that its traditional feminist message ("I won't give up my dreams for a man") made it more palatable for the times. Chez Nous doesn't let you off the hook so easily. What I found so compelling is its gentle but firm refusal to adopt a condescending attitude towards the characters or the audience. I rented this film with Jane Campion's Sweetie, which I found audaciously weird but riveting, in fact I now own Sweetie. Like Chez Nous, it deals with heroines and their family relationships, particularly involving sisters and to some degree, fathers. Both films are from the same part of the world. I was happy to find a used copy of Sweetie a few months after seeing it, but I watched Chez Nous twice before returning it, and that's the highest recommendation I can give.