Philippe Garrel is one of the major French filmmakers of the post-New Wave who has slowly begun to gain recognition in America after a career spanning 50 years with the release of his most recent films REGULAR LOVERS, FRONTIER OF DAWN and A BURNING HOT SUMMER as well as the re-release of I CAN STILL HEAR THE GUITAR PLAYING. Shot in lustrous, widescreen black and white by the great Willy Kurant (MASCULIN FEMININ, UNDER THE SUN OF SATAN), JEALOUSY may be Philippe Garrel's most accessible film in nearly 50 years of filmmaking. The film opens with a man leaving his wife and daughter and, in a series of brief conversations, observed gestures, chance encounters and impulsive acts, tells the story of the relationships that flounder and thrive in the wake of this decision. Louis Garrel, the director's son and frequent star, plays the husband who moves into a garret apartment with his fellow actor girlfriend (Anne Mouglalis) as they struggle with fidelity and the temptation to give up their art for an easier life. Shot with Garrel's celebrated sensitivity and attention to faces, bodies, hands and the intricacies of the human heart, JEALOUSY is an especially intimate, deeply poignant and never less than enthralling tale of love, temptation and betrayal. (c) Distrib Films … More
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Critic Reviews for Jealousy
While certainly no love story, this dry-eyed tale feels achingly, maybe even exhilaratingly alive.
That split-second is the rending of two hearts. Plus, the never-mastered lesson, pride kills. Or pride, at the very least, mixed with a toxic cocktail of self-pity, will make you want to harm yourself. Call it a masterpiece.
Short and anything but sweet, "Jealousy" is a good entry point to Garrel's filmography, for those new to the director's work.
Conventional dramatic hooks have no place in Garrel's filmography, so it's not surprising that his new movie is more atmospheric than involving, or that the two beautiful bed heads at its center hardly invite emotional connection.
Jealousy is completely occupied with gorgeously packaged, chic Parisian archetypes that remain utterly impenetrable for those looking from the outside into this self-contained, clichéd universe.
There's a casualness at work here that's absorbing because Garrel doesn't make a moment mean more than it ought to.
We've seen it all before, too many times, in Paris, in black-and-white or color: This entry adds nothing to an already overstocked genre.
"Jealousy" is the kind of slight, academic, self-satisfied exercise that preaches only to the converted.
In a brief 77 minutes, "Jealousy" provides a remarkably full - and also an intriguingly partial - portrait of a group of struggling artists as no-longer-entirely-young men and women.
Quiet moments after big decisions are where the power lies in this absorbing French drama.
Philippe Garrel's movies feel like ghost stories: delicate, enigmatic, and haunted by some indelible, unnameable presence, which a viewer can't help but suspect is the director's own past.
All the same, there are many pleasures in Jealousy, which runs a brisk 77 minutes and trades more in wispy, glancing observations than in melodramatic confrontations.
Vital and vigorous even when its characters feel scraped of vigor/vitality, Philippe Garrel's latest finds boho Parisians facing the ends of marriages, affairs, and the feasibility of bohemian existence itself.
In comparison with near-impenetrable Garrel efforts like Regular Lovers (2005) and Frontier of the Dawn (2008), Jealousy cuts straight to the heart.
A pleasant enough look at how a merry-go-roundelay leads three people to have fits of jealousy.
Chic yet exasperating, it's somehow quintessentially French - just not in a good way.
It's certainly atmospheric and cool in a new-New Wave way, but really, what's the point?
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