Les temps qui changent

What a let-down!! With a renowned director and two of the biggest French stars, you could expect at least a good movie, if not a masterpiece. But the result is a shamble: the film tells of the undying love of Gérard Depardiieu for Catherine Deneuve, as they were lovers but parted some 30 years before. But the reason of the split is not explained: on the contrary, Deneuve confesses to her assistant and good friend that she was madly in love with Depardieu, both sexually and affectively … So you don't understand. Add an unfaithful husband who does not care a hoot any longer for Deneuve… you cannot expect to fulfill a 100 minute-movie with so thin a story. So they create useless roles ( the AC/DC son of Deneuve, his wife and his son, and his lover, as well as the wife's twin sister) and scenes (Depardieu's attempt at black magic, the dogs attacking Deneuve's son) . But they are uninteresting (when not laughable) and leave you cold… And if Depardieu is rather good, - showing some aspects of his former talent before he agreed to make any and every indifferent or bad films for amassing pots of money -, Deneuve appears unconcerned, showing no sincerity in her performance. I give it a 4, feeling generous ..

Just to add to the Australian fan's comments -- what is not to like about Changing Times? It echoes Last Metro (last Catherine & Gerard hook-up for the really nostalgia friendly) and tells a romantic story (a bit far fetched but remember suspension of disbelief as ticket of admission?) in a highly contemporary yet grown-up and worldly-wise way -- the cinematography and editing of same is exciting, story-focused and only sags a little in the middle like many of us. Stars like these two, who are actors first, remind us what "star" is supposed to mean -- they disappear into their characters and make you care what happens to them. Younger cast also compelling. vive les french flicks!!

French film "Les Temps Qui Changent"/"Changing Times" is one of those nicely crafted culturally relevant films which suffers a lot due to richness of its great ideas ! This might seem strange as there are many minor stories in this film which invariably cross their paths with a brilliant main story.This is an element which fails to create an impression on viewers as an irregular back and forth jumping in time does not make any significant attempt to concentrate on any single aspect of its protagonists' emotional and sexual lives.There are some nice views of Moroccan city Tangiers as viewers get to see legendary superstars of French cinema Gérard Depardieu and Catherine Deneuve make all possible sacrifices to rekindle their lost flames of love. However,all this fails to create a solid film as supporting cast has done an average job.André Téchiné has made better films and this film's failure would not dishearten his loyal admirers who know that he would emerge victorious again with a new film probing unfathomable depths of human relationships.PS : Film critic Lalit Rao would like to thank a good friend Mr.Philippe Pham for having gifted a DVD of this film for detailed analysis.

Writer/director André Téchiné (Wild Reeds, My Favorite Season, Child of the Night, etc) is able to take what appear to be simple emotional responses from complicated people and create an artwork that makes us think, become introspective, and be challenged and entertained all at the same time. His ability to draw intensely personal performances from his actors makes him a director with a full heart and startling technique.

Essentially a love story, 'Les Temps qui changent' ('Changing Times') examines the lives of two people who fell in love in Paris 30 years ago, but parted. Antoine Lavau (Gérard Depardieu) has never married, so in love with his original flame Cécile (Catherine Deneuve) that he is obsessed with winning her back. Cécile has married a younger man, Natan (Gilbert Melki) who is a philandering physician, and lives in Tangiers where she hosts a dowdy talk show on the radio to help support the family. The couple has a bisexual son Sami (Malik Zidi), who has returned to Tangiers with his drug-addled girlfriend Nadia (Lubna Azabal) and her son Saïd (Idir Elomri) much to his parent's concern, and takes up with his Moroccan lover Bilal (Nadem Rachati). The family problems are further complicated by the fact that the Morroccan Nadia has a twin sister Aïcha (also played by Lubna Azabal) in Tangiers who is trying desperately to separate her life from her twin.

Antoine, an architect of means, manages to land a job in Tangiers in hopes of rekindling his romance with Cécile, but Cécile has become a feminist and a bitter woman who resents her younger husband's infidelity and wants nothing to do with love, especially with the threat of depth of feeling that Antoine's new presence in her world presents. Antoine is persistent, meets Cécile's husband for medical reasons, and tries to woo Cécile in a close to stalking manner. Cécile's best friend Rachel (Tanya Lopert) convinces her that the only way to end the ardor of Antoine is to sleep with him, which she finally does with unexpected results. While the dance between Cécile and Antoine progresses, Natan meets Aïcha, Sami and Bilal arouse old emotions, and Nadia requires rehab for her out of control drug habits. How all of these coincidental occurrences coincide in an unexpected accident for Antoine is André Téchiné's magical way of sharing the power of love in the most adverse of circumstances. The ending is surprising and thought-provoking and eminently satisfying.

Depardieu and Deneuve are luminous in their roles, adding yet other crowns to their careers of creating unforgettable, subtle characterizations on film. The remainder of the cast is also superb and the cinematography and music and editing and direction make this a feast for the eyes and the brain. Highly Recommended. Grady Harp

I saw this film last night as part of a Catherine Deneuve festival. She never disappoints me, and she didn't disappoint me this time, but the film did. Gerard Depardieu also was outstanding as usual; he is utterly amazing in his ability to portray vastly different characters despite his utterly distinctive physical presence.

I regard any film that holds my attention throughout as being basically good, and any that doesn't as basically bad. This one held my attention, so it's good. I kept wanting to see what happened next.

But there are degrees of goodness, and this one was down near the bottom. At the end, I thought, "Well, what am I supposed to take out of all that?" Two former lovers may or may not be reunited; if they are, it may or may not be the result of witchcraft; the half-gay son's girlfriend is unhappy about something, but I have no idea what it it is or if it's going to get better; her sister is also troubled, but I have no idea what about; maybe something significant was said about the politics of Tangier and/or Iraq, but if so it went over my head.

The hand-held camera, as always, didn't make me think about the significance of the events that were unfolding; it just unsettled my stomach by forcing me to adjust my field of vision every millisecond. When you think about it, the basic rationale for constant use of hand-held cameras is fundamentally stupid. It doesn't add realism; it destroys it. When I observe people interacting, I don't dance around them as photographers holding cameras seem compelled to do; and if I do move, my field of vision changes smoothly and, to me, unnoticeably. But when the hand-held camera moves, it jerks, and the viewer has to adjust his field of vision and then absorb the sights he sees. Bring back the good old days where the images were the focus, not the camera-work.