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Private Fears in Public Places (2007)
Tomatometer
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Reviews Counted: 62
Fresh: 49
Rotten:13
Average Rating: 7/10
Consensus: The premise isn't anything new, but director Alain Resnais' attention to detail and smooth camerawork gives this movie a delicate edge.
Theatrical Release:Apr 13, 2007 Limited
Synopsis: Nominated for eight César awards in its native France, PRIVATE FEARS IN PUBLIC PLACES is an intelligent, adult look at loneliness in the twenty-first century. Directed by French master Alain... Nominated for eight César awards in its native France, PRIVATE FEARS IN PUBLIC PLACES is an intelligent, adult look at loneliness in the twenty-first century. Directed by French master Alain Resnais (LAST YEAR AT MARIENBAD, HIROSHIMA, MON AMOUR), the film examines the interrelated lives of six main characters who are trying desperately but failing at making real, long-lasting connections. Charlotte (a bewitching Sabine Azéma) is a Bible-reading real estate agent who takes care of Lionel's (Pierre Arditi) vile, ailing father at night. Thierry (André Dussollier), a coworker of Charlotte's, is showing apartments to Nicole (Laura Morante) and Dan (Lambert Wilson), an engaged couple who can't agree on anything. And Gaëlle (Isabelle Carré), who lives with Thierry, her older brother, is looking for love through the personal ads but instead keeps coming home alone. Based on the play by Alan Ayckbourn, PRIVATE FEARS IN PUBLIC PLACES is beautifully shot by Eric Gautier, particularly the scenes in the colorful bar where Lionel works and Dan drinks away his frustrations. Scenes are linked together by falling snow, adding a chilling cold to the pervasive loneliness. The acting is uniformly excellent, with especially good turns from Azéma, Arditi, and Morante, who won the Francesco Pasinetti Best Actress award at the 2006 Venice Film Festival, which also awarded octogenarian Resnais the Silver Lion as Best Director. Resnais eschews modern technology in this carefully stylized world; the characters don't spend their time endlessly on computers and cell phones, and Charlotte even gives Thierry a videotape to watch, one that has been taped over many times yet still retains some of its previous recordings, as if parts of the past can never be erased. [More]
Starring: Sabine Azema, Lambert Wilson, André Dussollier, Pierre Arditi
Starring: Sabine Azema, Lambert Wilson, André Dussollier, Pierre Arditi, Laura Morante, Isabelle Carré, Claude Rich
Director: Alain Resnais
Director: Alain Resnais
Screenwriter: Jean-Michel Ribes
Producer: Bruno Pesery
Composer: Mark Snow
Studio: IFC Films
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Reviews for Private Fears in Public Places
What makes Private Fears so extraordinary is not just how it completely upends the expectations that have come to seem inherent in such a structure, but how Resnais constantly pushes the boundaries of his, well, let's call it visual depiction.
There is a different side to everyone in Alain Resnais' enigmatic film about six strangers whose Parisian lives randomly intersect.
What reaches us, most of all, are the hidden, unmet longings that keep the film's Parisian characters from finding true happiness.
A gentle look at the pain of loneliness that almost all of us feel from time to time.
While there’s a quirky humour at work, the overall mood is of sadness, eloquently, if repetitively, expressed.
Private Fears is so fluently made that its edginess only gradually becomes evident. It's both funny and sad, without underlining anything, and the playing is as good as you would expect from Resnais's regulars.
Ayckbourn's play might have made frothy fun of this comedie humaine, on screen this feels a poor, airless thing.
This French film based on a play by Scarborough’s finest Sir Alan Ayckbourn is best described as a little bit pedestrian.
Quiet desperation is an emotion you’ll probably feel as you wait for the movie to end.
The theatrical, colour-coded sets, graceful camerawork and scene-bridging snowfall motif create a quasi-fairytale feel. But it’s the beautifully tuned ensemble acting that infuses this funny, sad treat with real humanist heft.
No one would argue that this slight six-hander is one of Resnais's greatest movies, but it's far from an embarrassment, and even its strained comic business is enclosed within a prevailing atmosphere of wistful resignation.
Neither comic, nor tragic, nor tragicomic, the movie manages to be entirely inconsequential, gesturing at emotional truths which it is quite unable to embody.
Although now well into his eighties, Resnais brings an elegance and lightness of touch to this romantic roundelay – it’s not the most profound musing on life and love, but it’s eminently watchable.
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