Quiet desperation is an emotion you’ll probably feel as you wait for the movie to end.
Private Fears in Public Places (2007)
Tomatometer
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Reviews Counted:63
Fresh:50
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
This French film based on a play by Scarborough’s finest Sir Alan Ayckbourn is best described as a little bit pedestrian.
Something about Resnais' rigorous attention to the tiniest detail, his infinitesimal flourishes of surrealism and the metrical precision of Eric Gautier's camerawork -- not to mention the terrific cast of French cinema veterans -- finally sucked me in.
At 84, Mr. Resnais has lost none of the fatalistic cutting edge he first displayed almost 60 years ago. His films are never to be missed.
By the evidence of Private Fears in Public Places, age has not dimmed Resnais's sense of design, lighting, and camera movement.
Ayckbourn's play might have made frothy fun of this comedie humaine, on screen this feels a poor, airless thing.
Spring surely follows winter, but there is no sign of a coming thaw in this bleakly melancholic comedy of manners and mortality.
Resnais shapes affecting performances from a polished cast. He creates a warm, comic melancholy.
Private/Public is both simple and sophisticated, lightly comic and deeply melancholy, stagey yet totally cinematic.
Whether or not uneven character-identification was part of Renais' intention, we leave the theater under the film's delicate spell, anxious to discuss the possibilities with other viewers.
It’s a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It’s transcendentally yummy.
Unlike most interconnected ensemble pieces, closure never comes. This gambit makes the talky tragicomedy work despite the affectations; a determination to end well without all being well somehow feels like just the right move.
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.
What reaches us, most of all, are the hidden, unmet longings that keep the film's Parisian characters from finding true happiness.
The story is modern in treating the current malaise of loneliness in this era of collapsed traditional bonds of family, church and hierarchy.
Latest News for Private Fears in Public Places
September 12, 2007:
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