Uma jovem que está apaixonada por um médico casada torna-se perigosa quando suas tentativas de persuadi-lo a deixar sua esposa fracassam. Porém, quando as coisas são vistas do ponto de vista... Ler tudoUma jovem que está apaixonada por um médico casada torna-se perigosa quando suas tentativas de persuadi-lo a deixar sua esposa fracassam. Porém, quando as coisas são vistas do ponto de vista dele, a situação real fica clara.Uma jovem que está apaixonada por um médico casada torna-se perigosa quando suas tentativas de persuadi-lo a deixar sua esposa fracassam. Porém, quando as coisas são vistas do ponto de vista dele, a situação real fica clara.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 2 indicações no total
- Rachel
- (as Isabelle Carre)
- Anita
- (as Elodie Navarre)
- Jean-Louis
- (as Michaël Mourot)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
This starts as a family comedy about the innocent girl sending her loved one flowers and other presents. But it gets worse and in the end you're watching a thriller that doesn't make you feel at ease. It becomes a story of life and death and not just in the physical way.
The story is told from two view points. It remains exciting anyway.
The re-wind technique of different perspectives, descended from the Japanese "Rashomon," has combined entertainment with philosophical insight by the German Tom Tykwer, in such as "Run Lola Run," and with socio-political commentary in the Mexican "Amores Perros." Add in the American know-how of creepiness from "Fatal Attraction" and "One Hour Photo," and the French writer/director Laetitia Colombani, mais oui, applies it all to matters of the heart.
She uses both a rational and visual approach to an enormously entertaining take on "she says, he says"/"he loves she who is in love with he who is in love with she" etc. that is an unpredictable roller coaster.
One lead character is a cardiologist (the particularly hunky Samuel Le Bihan) and the other plays on our expectations of that gamin par excellence Audrey Tautou of "Amelie." We see her at first surrounded by flowers and heart decorations so of course our sympathies go out to her. Ah, how our interpretation of those wide black eyes can change! And if only Hollywood actresses would be willing to allow their images to be so cleverly manipulated.
Our other stereotypical assumptions also lead to other surprises. Unlike Hollywood, this movie respects our intelligence, and leaves us to figure out what's going on and anticipate what will happen after the end.
Just like it took awhile to feel good about "Singing in the Rain" after seeing "Clockwork Orange" and a certain classic rock song after "Reservoir Dogs," you may get a frisson of the creepies from Nat King Cole after this.
While you not may feel good at the end about particular characters and what they have done or will do, you will feel good about moviemaking and going to the movies.
Since I don't want to give anything away I can't say much about the story. It starts as a movie about a cute, sweet girl in love, and the movie's use of an actress who exudes sweetness and innocence makes what happens as the movie progresses all the more startling. The movie is devoted to its one central trick, and what's notable is not the trick - lots of movies have tricks - but how much time is spent in showing off the filmmaker's cleverness. This could have been annoying or self indulgent but I enjoyed it. Some people won't be surprised - I'm really not as good as guessing twists as a lot of people (which is why I consider the movie Matchstick Men to be so poor in spite of good reviews; that one I guessed straight through to the end early on) - but I was surprised and quite delighted.
The acting is superb, and the direction is right on par. The only gripe I have with this film is that due to its stealthy presentation it sometimes suffers from an identity crisis. I believe this could have been remedied with a more dynamic musical score (that is, it would have been more powerful if the music reflected the changes in the film's "personality"). There may have been other minor flaws which prevent me from giving this film a higher rating, but overall it was a worthwhile experience.
I found it to be quite enjoyable.
Você sabia?
- CuriosidadesTodas as entradas contêm spoilers
- Erros de gravação(at around 1h 11 mins) When Loïc gives CPR Angélique she is lying motionless with her eyes open. When he leans in to plug his nose and breath into her mouth, you can see that she closes her eyes as he leans in.
- Citações
[last lines]
Title Card: "Though my love is insane, my reason calms the pain in my heart, it tells me to be patient and keep hoping..." An erotomaniac confined for over 50 years.
- Versões alternativasAccording to the Technical Specifications link for this film, there are at least 3 different versions: (what is presumably) the one shown in theaters and available online, with a Runtime of1 hr 32 min (92 min); a longer version available in Britain, coming in at 1 hr 35 min (95 min) (UK), and a third one (with unknown) differences), 1 hr 35 min (95 min) (Argentina).
- ConexõesReferences Duas ou Três Coisas Que eu Sei Dela (1967)
- Trilhas sonorasJe Voulais te Dire que je t'Attends
Music by Michel Jonasz
Lyrics by Michel Jonasz and Pierre Grosz
Performed by Maurane
(P) 2001 Polydor France
©1976 Warner Chappell Music France S.A. (ex Les Editions Marouani)
With the kind authorization of Universal Music Projets Spéciaux and Warner Chappell Music France S.A.
Principais escolhas
- How long is He Loves Me, He Loves Me Not?Fornecido pela Alexa
Detalhes
Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 1.011.102
- Fim de semana de estreia nos EUA e Canadá
- US$ 76.000
- 16 de fev. de 2003
- Faturamento bruto mundial
- US$ 5.324.097
- Tempo de duração1 hora 32 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1