Alice et Martin

Although the performances were good, this movie is quite frustrating. While a non-linear narrative can be effective and compelling, the disjointed plot or lack of one leaves the viewer bored and confused. The story line is further strained by the lack of development of much of Alice's and Martin's characters. For instance, one can't understand why Martin's father was such a brute or why Alice would choose to stay with Martin. It's a shame because this movie could have been a lot better.

I'm a big Binoche fan but could not have been more disappointed with this film. There is little or no justification given for the demonization of Martin's father and the flat, bland relationship between Alice & Martin leaves one wondering why they'd stay together in the first place. Sure, Techine wants us to think Martin's father was a harsh on his illegitimate son but there's little or no supporting evidence. Standing in the rain, big deal. Punishing him for pretending to be sick. Ho hum. This reminded me of Bresson's "The Devil, Probably" as I really didn't give a damn about any of the characters or why they were in such supposed anguish. Speaking of anguish, you would think Martin's mother would have felt a little remorse about the consequences of her fateful decision (after all, Martin was happy w/ her and didn't want to go) but she didn't seem care about him anyways. In the end, I didn't either.

In her review of 'Alice et Martin' in Cinopsis, Marina Bergamelli states that the reason why Techine made this film remains obscure.

For those people who understand and know that such emotional worlds exist, it is a cathartic masterpiece of great value.

It takes courage to make a feature film of this nature and am grateful to the people who undertook such an artistic endeavour.

Film would be dead without them.

Julian Flynn

A weirdly inconsistent film, mixing hamfisted direction with an occasional obsessive attention to telling detail, seemingly shallow interactions with deeper thoughts, and Juliette Binoche's acting with Alexis Loret's acting. Loret can't act at all, even though he is pretty. This is not a great French film, but there's a lot to like about it nonetheless. Juliette Binoche is in fact that pretty, and she can act too. It has some (but not all) of the unforced naturalness that distinguishes French cinema. And it does not look upon its audience as a bunch of slack-jawed troglodytes, always a plus. Seven of ten, not the thing to convince someone to enjoy French cinema but pleasurable nonetheless.

Once a critic for Cahiers Du Cinéma, André Téchiné wakes generally high expectations from movie viewers, but he not always satisfied them. The interest for melodrama that distinguishes him from nouvelle vague predecessors returns in Alice and Martin which is not free from the thematic of dysfunctional family of others of his films. In this case the results are more unconvincing. At the beginning and for a long time we don't know what happens, and when we know, it does not matter enough. The disproportion between the elliptical and not few scenes of unnecessary diffuse dialogue does not contribute to go deep into the drama. Secondary characters like the tyrannical father, the mother, and the stepmother of the protagonist are delineated in the style of the stereotyped Spanish telenovela. The nicely photographed landscapes (a mark in Téchiné's pictures) add to the pleasure of the viewer but not fulfill the holes in the screenplay. The story, excessively charged with family quarrels, suicide, involuntary crime, tempestuous love, professional aspirations, madness, atonement, and final redemption, can't easily catch the spectator. Adam Gai