Mort-31
Entrou em set. de 2000
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Selos9
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Avaliações258
Classificação de Mort-31
After "L'ennui", this was the second Cédric-Kahn-movie I have seen, and I found it great. Kahn proves himself a specialist on ridiculous men lacking self-confidence and absolutely inapt to retain some dignity in a modern world like this.
The thriller plot, as stated by some earlier commentators, may be a little weak, especially as regards the "man on the run" (he is obviously taken directly from the Simenon novel but his character is neither fish nor foul). But this is not what it is all about. The thriller plot is merely an excuse to give a touching and disturbing portrayal of character Antoine (and his marriage).
Let me answer to two of the "plot holes" discovered by two other commentators: Antoine's drinking does make sense; he drinks because of frustration and a minority complex for not feeling man enough in the presence of his successful wife. His drinking is a childish act of defiance, he is not a sensible grown-up, not a man (as he keeps repeating himself). And of course, he doesn't recall all these telephone numbers from his memory; as indicated with one of the first calls, he calls directory inquiries and has himself connected to the respective partner each time (remember, there is cuts between the various calls).
Red Lights is a brilliant character study concealed as a masterpiece of suspense. Darroussin gives a touching performance in his role as hero and anti-hero at the same time. He is not particularly likable but still makes us feel sorry for him.
The ending, which I am not going to reveal here, is stirring in a very subtle way because above all it raises the question how it is all going to go on.
I like stories in which weird things happen out of character logic. This is a particular successful one.
The thriller plot, as stated by some earlier commentators, may be a little weak, especially as regards the "man on the run" (he is obviously taken directly from the Simenon novel but his character is neither fish nor foul). But this is not what it is all about. The thriller plot is merely an excuse to give a touching and disturbing portrayal of character Antoine (and his marriage).
Let me answer to two of the "plot holes" discovered by two other commentators: Antoine's drinking does make sense; he drinks because of frustration and a minority complex for not feeling man enough in the presence of his successful wife. His drinking is a childish act of defiance, he is not a sensible grown-up, not a man (as he keeps repeating himself). And of course, he doesn't recall all these telephone numbers from his memory; as indicated with one of the first calls, he calls directory inquiries and has himself connected to the respective partner each time (remember, there is cuts between the various calls).
Red Lights is a brilliant character study concealed as a masterpiece of suspense. Darroussin gives a touching performance in his role as hero and anti-hero at the same time. He is not particularly likable but still makes us feel sorry for him.
The ending, which I am not going to reveal here, is stirring in a very subtle way because above all it raises the question how it is all going to go on.
I like stories in which weird things happen out of character logic. This is a particular successful one.
I am not a cycling fan, and I would not have gone to see this film if I had not won the tickets.
Now, having seen it, I would still rather have won tickets for any another one because this documentary is not nearly as enthralling for people like me as it would for somebody who is a real cycling fan who watches the Tour de France on television every year.
On the other hand, it was not as boring as I expected. Especially the first of the two hours had bizarre and even funny scenes, a weird display of reality that makes some documentaries so interesting, and some of the images of the French landscape and this colourful mass of people cycling through it are really beautiful and sensational.
The whole film has something sensationalistic to it, especially created by the powerful and rather heavy score. Well, I guess this made it at least more entertaining for non-fans like me.
Now, having seen it, I would still rather have won tickets for any another one because this documentary is not nearly as enthralling for people like me as it would for somebody who is a real cycling fan who watches the Tour de France on television every year.
On the other hand, it was not as boring as I expected. Especially the first of the two hours had bizarre and even funny scenes, a weird display of reality that makes some documentaries so interesting, and some of the images of the French landscape and this colourful mass of people cycling through it are really beautiful and sensational.
The whole film has something sensationalistic to it, especially created by the powerful and rather heavy score. Well, I guess this made it at least more entertaining for non-fans like me.