À tout de suite (Right Now) (2005)
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Critic Reviews for À tout de suite (Right Now)
Shot in wide-screen, low-grain black and white, this sleek suspense narrative quietly unpacks the delusions and emotional hunger of its upper-class heroine.
If you're not careful, A Tout De Suite--Benoit Jacquot's ode to the French New Wave, infused with his love of American crime classics 'Bonnie and Clyde' and 'Badlands'--will fool you.
The film's retro appeal includes black-and-white cinematography and a Truffaut-esque fascination for parallels between the characters' wild flight and filmmaking itself as a wide-eyed, open-ended experience.
Crazy things certainly happen to Lili, but Le Besco drifts through most of the proceedings as though she were following a checklist: long face (done), three-way with lithe Athenians (yup), the occasional suggestion of zombietude (mission accomplished).
This is a film of disturbing emotional power and frank sexuality that is photographed in sensuous black and white.
Audience Reviews for À tout de suite (Right Now)
Starts out and mostly finishes as a typical French disaffectation piece - a bored young woman with a well-off family runs away to find herself - but creates an interesting subversion by making her self-discovery really suck. Running away with her fugitive boyfriend initially seems like it'll be a grand adventure, but things go very quickly sour and the experience presents very few positive aspects for our poor nameless heroine. The narrative is pretty interesting, but its delivery feels stilted and ineffective. There's only so many times characters can refuse to introduce themselves or pause for half-minutes at a time before you realize the movie is mostly hot air. Things in Right Now feel organic in that "life imitates art" way, and the little glimpses we get at the main character before her escape indicate that she's a dissatisfied romantic who WOULD follow some sparkly bit of false hope out of a safe existence; unfortunately, the careful crafting of the situation is betrayed by the movie's peculiar interactions. Isild Le Besco is a different leading lady, peculiar-looking and not super expressive. I constantly felt that she wasn't quite right as I watched the movie, and perhaps it was the movie's intention that it never really let me into how she was feeling or what she was thinking, but I would have preferred a slightly less obtuse actress. Her lack of emotional signposting makes some of the sexual scenes especially bizarre.
Pretty interesting, well worth the time, but you're better off watching Breathless.
[font=Century Gothic]With "A Tout de Suite," writer-director Benoit Jacquot has made another rumination about the reverbations of women's actions.("Sade" being an exception to this rule.) In other words, if we have freedom, than we must accept the consequences of our actions. Whether this is sexist depends on the circumstances of the specific movie.("Seventh Heaven" did give me cause for concern.) Here, it is 1975 and a 19-year old talented but unenthusiastic art student(Isild Le Besco), who lives at home with her father and sister, a university student, gets involved with bank robbers after becoming smitten with one of them(Ouassini Embarek). Even knowing who they are, she still decides to leave home with them. It is clear that she is naive about the world around her but not about sex.[/font]
[font=Century Gothic]"A Tout de Suite" is shot in black and white(which I am such a sucker for). The movie emulates the French New Wave with its jump cuts and loose story structure. Some stock footage is added to make it look more like 1975.[/font]
A school girl falls for a charming young man. After news about a botched bank robbery in which a guard is killed, she learns that her boyfriend was one of the robbers. She decides to hide him and his friends and then they all sneak out of the country. After hiding out and spending all the money, tempers rise and the group splits up. This forces the girl to work her own way back home and deal with her actions and her separation from her boyfriend. Written by Anonymous
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