Avant l'hiver

This film has many fine elements, but suffers from the same ennui as the couple it portrays. I picked this up at my library, and knew immediately I had seen it before, but couldn't remember the end, and had to ride the "fast forward" to get through it! It didn't get better with a second viewing! A bored neurosurgeon "hits a rough patch" with his trophy wife, who sublimates her loneliness with her trophy home and garden! It reminds me of a flaccid remake of Haneke's "Cache", with Auteuil reprising his role as the stone-walling husband, who is smitten by a young Moroccan woman, who may be stalking him with roses instead of surveillance! Kristin Scott Thomas plays the long-suffering wife, instead of Juliette Binoche.

The film also has a couple of disparate elements that could easily have been cut, mainly Lucie's psychotic sister, and a Polish patient's Holocast survival story.

This is a fine distraction, if you have nothing else to watch!

Altman's The Player had a similar idea: the hero receives messages from a man he believes has a grudge against him, then starts to investigate... The doctor in this film receives flowers every day, and comes to believe that they come from a woman who, he thinks, harbors some grievance. Soon he starts to slump in surgery, his supervisor orders him to take time off, and he finds he has no appetite for anything. I admired Daniel Auteuil's performance very much; he has put on some weight and his eyes have that distant look that means he can't focus on the essential things. His wife, his son and daughter-in-law have needs and he is oblivious to all of it.

Kristin Scott Thomas gives one of her finest performances; she is both suspicious that Paul is cheating and sure that he isn't (not really a paradox). Her eyes are wonderfully expressive. Leila Bekhti didn't really fit in with the story: I didn't get a feeling of menace from her. Richard Berry as the man who never tires of carrying a torch is excellent.

small domestic scenes from a family's every day life. a meeting. and image of a profound crisis. a film who could have different definitions. thriller, crime, art film, psychological. but who remains admirable work for the impeccable performance of Kristin Scott Thomas and Daniel Auteuil. for the image of reality beyond the words. for a form of delicacy in define the events like a painting in water colors. a film about values and about fear to lost sense of life. a film who is really seductive not exactly for story but for details. the last scene is a good example. not different by many films with similar theme, it is really beautiful for the doses of drama and for the inspired use of silence. a film about a family. its crisis. and the hope.

They could've made so much more with this story, but it has no direction, it tries to be profound, but it ultimately fails to. The ending leaves you nowhere, and you ask why you've seen this film? For the cinematics? For the actors? Hmm... For sure not for the incomplete and lack of depth of the script.

Until the final 20 minutes I was watching this drawn by the two main characters. Kristen Scott Thomas and Daniel Auteuil are (as always) superb and their performances rather than the catalyst character, well played by, Leila Bekhti are what keep you engrossed. Scott Thomas and Auteuil are so subtle in their performance that you do feel the emotion, as your own, that which simmers and then manages to just about bubble in both their emotionally closeted worlds. These performances give the revelations revealed or hinted at in the final 20 minutes a lot more power and make what would have been another decent, and very watchable, film about a mature older man becoming obsessed by a young woman and his and his wives helplessness in doing anything about it after too many years wrapped in wealth and family comforts a rather very good film and one that leaves you thinking about consequences and the fallibility of love.