Movies, particularly post-Spielbergian Hollywood product, tend to steer your frame of reference with fascistic discipline. Here, delivered in a shiftable tripartite sequence, is a movie experience you can shape yourself.
After the Life (2002)
Tomatometer
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Reviews Counted:32
Fresh:30
Rotten:2
Average Rating:7.2/10
Theatrical Release:Feb 13, 2004 Limited
Synopsis: A cinematic gamble without precedent, this ambitious project comprises three films, in three disparate genres, that provide not so much the same action from different perspectives, but rather,... A cinematic gamble without precedent, this ambitious project comprises three films, in three disparate genres, that provide not so much the same action from different perspectives, but rather, different pieces, consequences, and results of the combined actions of all the films. Structurally reminiscent in certain ways to Krzystzof Kieslowski's Three Colors Trilogy and Akira Kurosawa's Rashomon, (its literary inspiration was Lawrence Durrell's Alexandria Quartet) it takes the idea of ever-expanding narrative webs to an exciting new level. The first film is a fast-paced thriller, the second a romantic comedy, and the third a melodrama; each of the feature length films can be seen alone, but each feature narrative gaps that can only be filled by viewing the other films. Seen together they're a remarkably cohesive and satisfying achievement that has the effect of creating a fourth film that exists only in the viewer's mind. Director Lucas Belvaux himself plays one of the lead roles, accompanied brilliantly by Dominique Blanc, Catherine Frot, Ornella Muti, Gilbert Melki, and François Morel AFTER THE LIFE (APRÈS LA VIE) - The final installment in Belvaux's masterful trilogy is a melodrama that follows Pascal, a cop who seeks a redemption of credibility in the capture of escaped convict Bruno, who in turn is harbored by Pascal's morphine-addicted wife Agnes. Pascal's already precarious ties to Agnes are strained further when he meets and falls for her fellow schoolteacher friend Cecile. With Pascal focused on Bruno and Cecile, Agnes is forced to find a fix on her own. -- © Magnolia Pictures [More]
Starring: Lucas Belvaux, Ornella Muti, Francois Morel, Catherine Frot
Starring: Lucas Belvaux, Ornella Muti, Francois Morel, Catherine Frot, Dominique Blanc
Director: Lucas Belvaux
Director: Lucas Belvaux
Screenwriter: Lucas Belvaux
Composer: Ricardo del Fra
Studio: Magnolia Pictures
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Reviews for After the Life
A compelling drama which forms an essential part of Lucas Belvaux's audacious series.
If you have committed to the entire project ... this chapter leaves you not only with a sense of completion but of an ascension to a hard-won grace.
It's an engrossing experience, although at least one story strand...doesn't pass muster when viewed a second time.
“After Life,” takes a more somber tone than the first two films [in "The Trilogy"]
This is a harrowing story of addiction and co-dependence, strong and quite moving.
Works well on its own, but it makes the other two films better still by filling in their gaps and thus making the overall series a good deal more interesting.
Watching junkies screaming for their fix tends to get very tired very quickly, but Blanc holds the screen with furtive intensity.
One particularly brilliant achievement of Belvaux's is the intimate access it affords to every character's story as bit players and central figures change roles.
The most intimate and moving of the three films. What’s most compelling about this installment is its frank exploration of a couple mired in co-dependency.
The fine performances by Blanc and Melki give Belvaux' whole clever undertaking some needed weight.
Belvaux is no Douglas Sirk, but the film is an admirable, if uneven, conclusion to an audacious project.
Even if you refuse to play Belvaux’s Choose Your Own Adventure, do not ignore these performances.
The Trilogy's amazing partnership is Agnès and Pascal's. With After the Life's tango of enabler and addict, Belvaux finally delivers emotional resonance.
A rich and compelling work in its own right, as well as an integral part of Belvaux's grander project, this brings the trilogy to a moving conclusion.
Each film stands satisfyingly on its own as a genre piece, but the triplex provides added understanding of character and consequence.
| Tomatometer Percentage | Movie | Date |
|---|---|---|
| 90% 90% | The White Ribbon | 12/30 |
| 100% 100% | Daybreakers | 1/8 |
| | Leap Year | 1/8 |
| 83% 83% | Youth in Revolt | 1/8 |
| | The Book of Eli | 1/15 |
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