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I've Loved You So Long (2008)
Tomatometer
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Reviews Counted:116
Fresh:104
Rotten:12
Average Rating:7.4/10
Consensus: I've Loved You So Long is a sublimely acted family drama as well as a noteworthy directorial debut from Phillipe Claudel.
Rated: PG-13 [See Full Rating] for thematic material and smoking.
Genre: Foreign Films
Theatrical Release:Oct 24, 2008 Limited
Box Office: $2,901,744
Synopsis:
Léa (Elsa Zylberstein) and Juliette (Kristin Scott Thomas) are sisters. The film begins with Léa, the younger sister by fifteen years, picking Juliette up at the airport. We soon realize that the...
Léa (Elsa Zylberstein) and Juliette (Kristin Scott Thomas) are sisters. The film begins with Léa, the younger sister by fifteen years, picking Juliette up at the airport. We soon realize that the two sisters are almost complete strangers to each other. Juliette has just been released from prison after serving a long sentence. Léa was still a teenager when Juliette, a doctor, was convicted of the murder of her six-year-old son. Léa contacted Juliette when she was released and suggested that Juliette come to live with her. Juliette had no particular desire to see her sister again.
Luc (Serge Hazanavicius), Léa’s husband, is quite reserved, almost hostile, about Juliette’s presence under their roof. Luc and Léa have two adopted Vietnamese daughters, who are 8 and 3 years old. Luc’s father, Papy Paul (Jean-Claude Arnaud) also lives in the house. He’s a charming old man who spends all of his time reading since a stroke deprived him of the power of speech.
Life together isn’t easy to begin with. Juliette has to relearn certain basics. The world has moved on and she often seems confused. Although she may seem cold and distant, her attitude stems more from her being ill at ease. Helped by some, such as the kindly but tactless social worker and her open-hearted but depressed parole officer (Frédéric Pierrot) whose confidante she becomes, Juliette is also rejected by others, particularly employers who throw her out as soon as they find out what she did.
Léa’s attitude is ambiguous. She avoids talking about Juliette’s terrible crime and time in prison at all costs. She wants nothing to blunt the happiness of their reunion and getting to know each other again. Luc mentions it reproachfully, as does Juliette in a different way.
Gradually, the real Juliette emerges. She opens up to the world once more, thanks to her two nieces, with whom she becomes very close after being very stiff with them at the beginning, and Michel (Laurent Grevill), a friend of Léa’s, and Papy Paul, who, in a more symbolic way, knows what it’s like to be locked away. Juliette gets a job as a medical secretary at the local hospital on the condition that she never mentions she used to be a doctor. Her relationship with Léa becomes much stronger and more intimate. Even Luc succeeds in pushing his preconceptions to one side and seeing Juliette as his sister-in-law, not as a murderer.
But a huge questions hangs over Juliette’s renaissance. Why did she do such a terrible thing fifteen years ago? For all the others, it’s a recurrent thought that they dare not put into words. And for Juliette, locked away in her secret, it’s a burden to bear, which holds her back from engaging in her life and believing that she too has the right to be happy.--© Sony Pictures Classics
Starring: Kristin Scott Thomas, Elsa Zylberstein, Serge Hazanavicius, Laurent Grevill
Starring: Kristin Scott Thomas, Elsa Zylberstein, Serge Hazanavicius, Laurent Grevill, Frederic Pierrot
Director: Philippe Claudel
Director: Philippe Claudel
Screenwriter: Philippe Claudel
Studio: Sony Pictures Classics
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Reviews for I've Loved You So Long
So note-perfect are the performances from all the cast in I've Loved You So Long that you want them to inhabit a film that is somehow less contrived and more honest.
For whatever blessings Claudel received with his cast and his admirable writing, Claudel takes very few chances with the material as a director and it sticks the film in neutral
Solicitously shepherding us into the shallows of the therapeutic women’s novel, Claudel tamps down his magnificently intransigent Hedda Gabler, and makes her gently weep just when she should be baying at the moon.
Philippe Claudel is a successful French novelist, so it's odd that his filmmaking debut suffers more from narrative than cinematic flaws.
I've Loved You So Long is very thin and artificial; characters behave erratically and illogically for no other reason than to serve the forward thrust of the plot.
The ending is a cop-out: It lets the audience off the hook while congratulating it for its empathy.
As much as Thomas transcends her typically reserved, austere presence, it's not quite enough to give the movie the emotional weight it so desperately reaches for.
The movie's fascinating when it tracks Juliette's tentative, almost unwilling progress back into society.
If this movie is as patient, delicate, and introspective as it pretends, what to make of all the bludgeoning, obvious tactics that keep serving to remind us of its impeccable tact?
As a mood-piece the film sits on a pedestal, rather, waiting to be admired.
Locked into a scheme of formal rigor and peek-a-boo screenwriting, the film is too busy calling attention to its own cleverness to allow any room for emotional connection.
In the drama I've Loved You So Long, Kristin Scott Thomas's furious honesty rules out easy, unearned redemption.
Thomas gives it her all, uncorking every ounce of emotion she’d held in check, with Herculean restraint, over the better part of two hours.
Each relationship is deftly, brilliantly sketched and the relationship snapshots are satisfyingly complex
Mr. Claudel has made a grown-up film for our troubled time, and created a beautiful rapport between two gifted actresses.
what writer-director Philippe Claudel does superbly is to map the slow thawing of the icy chip at her heart.
Kristen Scott Thomas' performance is the backbone to an emotionally moving story about a woman searching for redemption within herself. Seek this out!
... a powerful performance by Kristin Scott Thomas ... a performance of great honesty and craftsmanship.
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