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Les destinées sentimentales

  • 2000
  • Tous publics
  • 3h
IMDb RATING
6.7/10
1.4K
YOUR RATING
Emmanuelle Béart in Les destinées sentimentales (2000)
Period DramaDramaRomance

In late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her ... Read allIn late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her back. By this time he has been drawn to Pauline, niece of a Cognac distiller, and this pre... Read allIn late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her back. By this time he has been drawn to Pauline, niece of a Cognac distiller, and this precipitates him divorcing his wife, settling on her and his daughter the shares he owns in h... Read all

  • Director
    • Olivier Assayas
  • Writers
    • Jacques Chardonne
    • Olivier Assayas
    • Jacques Fieschi
  • Stars
    • Emmanuelle Béart
    • Charles Berling
    • Isabelle Huppert
  • See production info at IMDbPro
  • IMDb RATING
    6.7/10
    1.4K
    YOUR RATING
    • Director
      • Olivier Assayas
    • Writers
      • Jacques Chardonne
      • Olivier Assayas
      • Jacques Fieschi
    • Stars
      • Emmanuelle Béart
      • Charles Berling
      • Isabelle Huppert
    • 14User reviews
    • 29Critic reviews
    • 73Metascore
  • See production info at IMDbPro
  • See production info at IMDbPro
    • Awards
      • 4 wins & 6 nominations total

    Photos7

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    Top cast41

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    Emmanuelle Béart
    Emmanuelle Béart
    • Pauline Pommerel
    Charles Berling
    Charles Berling
    • Jean Barnery
    Isabelle Huppert
    Isabelle Huppert
    • Nathalie Barnery
    Olivier Perrier
    Olivier Perrier
    • Philippe Pommerel
    Dominique Reymond
    Dominique Reymond
    • Julie Desca
    André Marcon
    André Marcon
    • Paul Desca
    Alexandra London
    • Louise Desca
    Julie Depardieu
    Julie Depardieu
    • Marcelle
    Louis-Do de Lencquesaing
    Louis-Do de Lencquesaing
    • Arthur Pommerel
    Valérie Bonneton
    Valérie Bonneton
    • Arthur Pommerel's wife
    Pascal Bongard
    Pascal Bongard
    • Vouzelles
    Didier Flamand
    Didier Flamand
    • Guy Barnery
    Jean-Baptiste Malartre
    Jean-Baptiste Malartre
    • Frédéric Barnery
    Nicolas Pignon
    • Bavouzet
    Catherine Mouchet
    Catherine Mouchet
    • Fernande
    Mia Hansen-Løve
    Mia Hansen-Løve
    • Aline
    Sophie Aubry
    • Dominique
    Victor Garrivier
    • Pasteur Sabatier
    • Director
      • Olivier Assayas
    • Writers
      • Jacques Chardonne
      • Olivier Assayas
      • Jacques Fieschi
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews14

    6.71.4K
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    Featured reviews

    4a.morell

    Brave try at a follow-up to Visconti`s epics

    For the first time Assayas has left the contemporary Paris settings of his films and tried his hands on a period picture, set in a small village in the South, a china factory in Limoges, the Swiss Alps and on the battlefields of WW1. The film is a brave attempt to revive Luchino Visconti`s lavish epics but unfortunately lacks the Italian`s breath. The story could have easily been told in 90 minutes (instead of 180!), and even if some scenes and locations look gorgeous (especially the ballroom-scene!) and Assayas` (and cameraman Eric Gautier`s) usual trademark, the nervous camerawork, goes down well with a period picture, all that isn`t enough to hold our attention for such a long time. Nothing in this films can really surprise us, not even the beauty of Emmanuelle Beart or the acting quality of Isabelle Huppert, and as the film potters along one hopes Assayas will rapidly go contemporary again. Not really bad but definitely ways apart from the quality of his earlier films.
    thegreifs

    disappointed

    after eagerly seeking out this film, i found myself totally bored..it was too long,had no movement..although very beautiful..but the beauty wore thin after 40 minutes..performances ok...but in the end dull,dull, dull..lots of pottery but not much else..
    5Stephen-34

    Such a beautiful film, to fall so short

    Chardonne's novel is a masterfully written tale about two characters as they spiral through and explore love as life's most essential element. The director captured it beautifully as a tone, a feeling, and as an overall impression of how the characters react to their journey. Unfortunately, he left out the milestones, those transitions a character makes, inwardly, as outward events bear in on them. The audience is asked to make gigantic leaps of logic as the character's trust in and dependence on Love changes, evolves with age. Mind you this is a three hour epic, so it is not for want of time that the production misses the mark, only the screenwriter's discipline, and here, again, the director got involved where he ought not be.
    5przgzr

    Like Who is who, or Telephone index ... but without explanation and numbers

    This movie is either too short or too long.

    If it tries to follow a book and to show the whole life of several dozen people, it should have been made as a mini (not too short) serial. I still remember how much I've enjoyed first TV version of The Forsyte Saga, made in 26 episodes.

    There are also far too many characters in the movie. (I know France is a big nation, but they didn't have to show all of them in one movie.) For the first hour you even don't know who the main characters are (unless you've read carefully opening credits). Later during the movie some of them never appear again, some appear when you've already forgotten who they were and you don't care for them any more (as well as main characters and probably the director himself). Some get a significant footage in certain part of the movie and then never show again, being completely irrelevant to the plot (or having a subplot of their own that never develops). Yes, life looks that way, you can suddenly meet a person you haven't met for ages, but life lasts decades and you can't compress it into 180 minutes.

    The movie promises very much in first hour (though this extreme number of characters obstructs your attention and complicates following the plot - and sometimes you wonder if there is any). Ball scene (often mentioned in other comments) and some casual talking scenes are marvelous in best French tradition.

    But suddenly, as if the director discovered that his movie should last more than twelve hours if he kept the same rhythm, we jump along the years and we have some important things just mentioned as if someone waking from coma now and then and getting a few basic informations before losing conscience again.

    The final hour is the best, but I'm afraid many people haven't seen it, either because of giving up, or simply falling asleep while trying to find who is who and what is he doing. Even those with best attention, who could solve this two questions, had no chance to answer the third one - why. Maybe we, who stayed awake till the end, managed to understand the main characters, but it is not a compliment for a 180 hours long work.

    Some people compared this movie to Visconti's works. I'd agree, as I find Visconti the most boring of all overrated directors (and, just to mention, I respect Tarkovsky, like Tornatore and adore Bergmann - and ignore action movies).

    Except making a serial, this movie could have been made watchable in two other ways. First, it could be made without middle part - after 1900 events we could have skipped into WWII without losing anything. Second, Assayan could have made what Kazan did with Steinbeck's East of Eden - chose one part of the novel, one plot and cut away the rest. We could have lost characters like Louise, Aline and her friend (?), Fayet etc, but I couldn't care less for them anyway. Maybe someone would find it a blasphemy for the literature, but making people yawn and bore isn't a favor to it either.
    jandesimpson

    Whatever has happened to French Cinema?

    Having just yawned through three hours of "Les Destinees Sentimentales" I find myself asking yet again, "Whatever has happened to French cinema?" Time was in the '60's and '70's when it was one of the most fertile sources in the world with masterworks such as Chabrol's "Le Boucher" and Goretta's "La Dentelliere" appearing with amazing frequency to say nothing about little gems such as Alain Dhouailly's "Inutile Envoyer Photo" about which I can find nothing on this database. There was even "Permis de Conduire", a delightful trifle about a man trying to pass his driving test which seems to have passed unnoticed, but which, had it been made in the UK, would no doubt have brought forth the sort of accolades we used to give to such films as "Genevieve"; in actual fact I thought the French film so much better. In France Andre Techine seems to be the only director doing worthwhile things these days - if readers know of others I would be glad to hear of them. For the rest, two genres seem to predominate, inconsequential stories of everyday human relationships a la Eric Rohmer, but without that master's sophistication and subtlety, and period literary adaptations which seem to have a statutory length of at least three hours. In this latter category comes "Les Destinees Sentimentales" a dreary saga of a family running a porcelain factory that starts at the beginning of the 20th century moving forward to the period between the two World Wars. It mainly deals with marital and business ups and downs. With the one exception of an estranged wife magnificently played by Isabelle Huppert, the rest are singularly boring company. Even the central character. a Protestant cleric who abandons his calling, seems incapable of conveying the suffering of spiritual doubt in the way that Gunnar Bjornstrand so memorably achieved in Bergman's "Winter Light". In the end it all seems such a waste of effort by a youngish director, Olivier Assayas, who is clearly not without talent. Early on there is a ballroom scene that has that excitment of movement often to be found in the best of Scorsese. If he were to choose his subject matter more carefully there is the ability there to make a really good film. I have to admit that this is the only Assayas film I have seen so he may well have done this already. Again I would appreciate hearing from readers on this point.

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    Storyline

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    Did you know

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    • Trivia
      Antoine Duhamel composed and recorded a score for the film, which went unused as it didn't satisfy Olivier Assayas, who blamed himself, considering he wasn't able to convey what he wanted from the music. Thus, only preexisting music is used in the film.

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    Details

    Edit
    • Release date
      • July 12, 2000 (France)
    • Countries of origin
      • France
      • Switzerland
    • Official sites
      • CAB Productions (Switzerland)
      • Pathé / FKGB
    • Languages
      • French
      • English
    • Also known as
      • Sentimental Destinies
    • Filming locations
      • Gare, Champigny-sur-Veude, Indre-et-Loire, France
    • Production companies
      • Arena Films
      • TF1 Films Production
      • CAB Productions
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • €14,980,000 (estimated)
    • Gross US & Canada
      • $230,900
    • Gross worldwide
      • $231,293
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      3 hours
    • Color
      • Color
    • Sound mix
      • DTS
      • Dolby Digital
    • Aspect ratio
      • 2.35 : 1

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