This is a film that needs words to understand humor, but the talented director Guillaume Canet and his friends confidently use their careful minor plot and excellent performance to make As a French blind, I also understand this story and those ingenious settings and hints. A group of friends, people around in life, tell all kinds of little lies to escape the pain or choice in life, until a friend suddenly leaves.
It all starts with a sincere confession. He fell in love with his friend of 15 years, loved his hands, loved his talents...and then they made a deal when none of that happened. Does a French man named Vincent have such beautiful blue eyes? It's a pity that it won't be a bloody gay movie next. This silent lie brings the abnormality and unfriendliness of friends. The story begins. The pseudo-straight man played by Benoit Majima is really beautiful!
Vincent's silent and forbearing gaze, his wife's sexual repression, sex chatting on the computer late at night, crying while running by the sea, sitting by the bed in sexy underwear and watching her husband pretend to sleep. She and they chose to believe each other's lies easily, and in the end she stood behind him and hugged him. No matter whether it is a refusal or a lie, the truth is so heart-wrenching.
Eric and Antoine are like two ignorant teenagers, living in their own carefully woven romantic imagination, unwilling to wake up. They yearn for love but don't believe in life and see no end. They're just two sides of a coin, Antoine is clumsy and hesitant; Eric is the typical Beast Boy. One guards until dawn and becomes a family; one shouts je t'aime in front of everyone, only to climb up her windowsill to stare and leave. He told friends he was fine.
I can't see Marion's heroine status at first. It was only at the end that I found that the bridge on her body was the most intentional. Her feelings are wobbly; her sexuality is ambiguous; she wanders or escapes to remote places. But the details are carefully set time and time again: the drugstore pocket left on the bed, the curse in the door, the late night friend who came to the bed to touch her belly and cry. The tears at the funeral are lies to cover up the inherent stubbornness and fragility of women, all of which are extremely moving.
But it has to be said that what most embodies the handsome director style of Guillaume Canet is precisely the long shot at the beginning from the splendid bar to the lonely street in the morning, and the line of sight also seems to enter a long and narrow tunnel. But with a sudden loud noise, the motorcycle toy flew out. The violence is so sudden that the protagonists must accept the sudden death of their accustomed friend. And the director's camera looks like three words thrown out: No explanation!
Towards the end of the film, friends watch Ludo's video together, flashing back many, many tacit stories. At the funeral, the old man brought sand from the sea and sprinkled it on his grave to obliterate the past or lies they experienced together. It's just that they are still shaking and hugging each other like this, which makes people feel warm. The film does not preach, but like a loud slap and a warm palm, brushing away the laughter and tears on the face, not only survival but also life.
The level of the script and the director's control are not bad. It can be regarded as a portrayal of French "aggressive" life: good at forgetting lies and self-deception; it can also be regarded as a multi-faceted portrayal of a person's life: every stage is Reflected on each character. With this mature and charismatic cast, each character and the story they carry is as rich and complete as the life they're trying to tell. Kaney students are really talented!
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