Um Instante de Amor

I was waiting for this movie after I have watched "Youth" of Paolo Sorentino. The reason is quite simple from the first glance and extremely marvelous from my point of view. First time in my life, I am still with Youth, I realized what is the pure beauty of the nature….

Thus, what I found out that in the same location "Mal de pierres" was shout I was expecting to indulge once again into fascinating scenery of nature. And of course, I was expecting the other background - provided by the movie and the plot.

I would divide movie into three parts: part 1 - boring & typical, part 2 - natural eye opening and part 3: reasonable

The plot is exactly what is said about the movie on any poster: she does not love, he (looks like) loves, she is becoming crazy and mad in the naive searches of love from the book. And this is basically the first part of mine.

My second part starts with the trip to Schatzalp in Davos. At the end of the first part an idea stroke my mind - what if the movie is not about she and her sufferings of loving not the right people?.....My second part is the most beautiful - breathtaking views of Swiss Alps, love story of the main she male character - an affair with young lieutenant (by the way perfectly chosen youth + war - for sure must be inspired by Thomas Mann's "Der Zauberberg").

My third part - leaving Alps and coming back to humdrum reality and again waiting for a love. Same stupid, naive love from the novels… Beautifully playing actors, beautiful need and the search for the real love and even after realizing that this love can be nearby - may be not even love but "near & dear". Maybe we can call it to to grow up & become a woman ...finally.

But in my opinion, the main idea as well as the main character is not Gabriel. What if the key to decipher the movie lays in undistinguished Jose? Do you remember his sight at the beginning of the movie? I guess this is the sight of the man willing to die for his love…

In my opinion, the movie is about Jose and his love, about the man who sacrificed his life and was withstanding all the "whims" and finally received hope for love. I would call it "the silent fight" for the love.

Coming back to the movie, the film is nice and beautiful, but in some moments a bit boring and lacks some expression and deepness. But for sure, I personally received what I was expecting and definitely it is one of the best recent movies so far.

I will be honest, I did see this film because it is directed by Nicole Garcia, one outstanding female French director, the best I guess. She has a very sensitive way of filming. So, I did go to see this film without hesitating. And of course I don't regret it at all. Marion Cotillard, whom I don't particularly appreciate, is at her best here. Although I don't crave for her, she is a damn good actress, but sorry, I felt a little emptiness here, I don't really know where. Something missed somewhere. The actors and actresses around her are flawless, but I persist on my opinion. I don't think that's a matter of directing. Not with Nicole Garcia. Maybe because this kind of scheme has already been told a hundred times before.

But it remains a good film.

I absolutely loved this film, French films are masters at this type of art. The longing for love the unknown forbidden fruit. Not wanting it yet finding it out of the blue, again metaphorical substances, her pain is real, the stone in her body is real, not attention seeking as her mother would say. Just as painful as her yearning for love, to be loved, to give love, naive, curious... The parents strict in many ways we do not know as to what she went through as a young child, but it forms and shapes her womanhood. Her mind in turmoil, visions, fantasies that are alive as daylight. Twists and turns in the film that left me totally glued as to what is going on with this creature, this beauty, these consequences that are occurring all the time, her loveless marriage, her son... It's the passion of love, lasting a mere moment in a lifetime, and ending so abruptly. To reconcile with herself, in the end finding who she is, finding her inner peace...she is in reality a part of most of mankind.

Another bright movie from Marillon Cotillard, the very talented French actress who shines in other ways in this limited, averagely deep production. Everything is on point in a simple, semi-impactful and mysterious way. The beginning was well developed alongside the middle, just the end and what precede it was a little average, hurting the production in a minimal to the sense way.

• Screenplay/storyline/plots: 7
• Production value/impact: 7
• Development: 7.5
• Realism: 7
• Entertainment: 7
• Acting: 8
• Filming/photography/cinematography: 8
• VFX: 8
• Music/score/sound: 7
• Depth: 7
• Logic: 6
• Flow: 7.5
• Drama/romance: 6.5
• Ending: 6.

'From the Land of the Moon' tells the tale of Gabrielle (Marion Cotillard) who develops an unfortunate - and unreciprocated - sexual obsession with her local teacher in 1950s rural France. Her mother hastily arranges for her to be married off to itinerant Spanish workman José (Alex Brendemühl), who can not even be bothered shaving for their wedding day. Gabrielle resigns herself to a loveless marriage - charging José 200 francs for sex - before she has to stay at a Swiss spa to be treated for 'stones sickness' (not, as you might think, an obsession with Mick Jagger et al, but kidney stones). At the spa she meets aristocratic soldier André (Louis Garrel), with whom she develops a deep (though, to her disappointment, platonic) relationship. But when André leaves and Gabrielle returns to José, how will her experiences have changed her?

I spent much of the film trying to work out how old Gabrielle is supposed to be: when the film opens the story suggests she is the equivalent of a sixth form student, but Cotillard, in her forties, hardly looks the part. In other respects, though, she is perfect, conveying with the minimum of fuss Gabrielle's undercurrent of frustration with her lot in life - and the look she gives the man with whom she has ended up in the film's very last shot speaks volumes. Brendemühl and Garrel are pretty much Cotillard's supporting players (after all, neither of *them* has an Oscar!) but both make the most of their parts, again without resorting to over-acting.

Subtlety is the watchword in setting the film's period, too: director Nicole Garcia choosing to express it with costumes, interior decorations and cars, rather than beating the viewer around the head with pop songs from the time as other directors might be tempted to do. There no big explosions, no screeching-wheeled car chases; this is simply a film about human emotions - and contains a twist I certainly did not see coming. Well worth a viewing.