What reaches us, most of all, are the hidden, unmet longings that keep the film's Parisian characters from finding true happiness.
Private Fears in Public Places (2007)
Tomatometer
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Reviews Counted:20
Fresh:14
Rotten:6
Average Rating:6.9/10
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
Private Fears suffers from [director Alain] Resnais' inability to open it up and give it the look and pulse of a film.
Resnais shapes affecting performances from a polished cast. He creates a warm, comic melancholy.
Resnais has always been an expressionist, using his settings and compositions to evoke the inner states of his characters. Here, tying expressionism to social critique, he becomes an improbable but unmistakable blood brother of Carl Dreyer.
A film about love and blunders done from the perspective of age, crafted by writer Alan Ayckbourn, 68, and director Alain Resnais, 85. Our younger directors and screenwriters should show this much brilliance and feeling.
Private Fears in Public Places, a masterpiece by any measure, is fresh, immediate and contemporary, but its wintry yet warm perspective is suffused with the wisdom and experience of a great filmmaker who turns 85 on June 2.
Its a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: Its transcendentally yummy.
French art films aren't generally known for their feel-good endings, but a total lack of resolution can be just as cloying as happily ever after.
At an age when most people are reduced to waiting for the Grim Reaper, Resnais is challenging life as if he were half a century younger.
The film is beautifully shot and edited, but these emotional snapshots won't stay long in the memory.
Private Fears in Public Places is far from difficult and that, it is also worth noting, is not a criticism. The film is accessible, pleasant, dreamy, a touch goofy and melancholic.
Alain Resnais turns this multi-character tale of misspent love into pure cinema, transforming the physical world into a symbolic statement about divisions, distances and separation anxiety.
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.
[A] mature adaptation of a dramatic daisy chain by veteran British playwright Alan Ayckbourn.
Lowbrow plus highbrow does not equal middlebrow, and the breezy accessibility of Private Fears in Public Places does not make it any less a work of art than Resnais's more difficult early successes.
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.
Despite a perfect cast of Resnais regulars plus the master's own impeccable crafting, the characters fail to grip, and with approximately 50 short scenes, development comes in fits and starts.
Exceedingly slight and melancholy comedy from French auteur Alain Resnais.
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