Le refuge (Hideaway (Le refuge)) (2009)
Average Rating: 6.6/10
Reviews Counted: 36
Fresh: 31 | Rotten: 5
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Average Rating: 7.2/10
Critic Reviews: 9
Fresh: 9 | Rotten: 0
No consensus yet.
Average Rating: 3/5
User Ratings: 10,256
Mousse (Isabelle Carre) and Louis (Melvil Poupaud) are young, beautiful, rich and in love, but drugs have invaded their lives. After Louis fatal overdose, Mousse soon learns she is pregnant (actress Isabelle Carr was pregnant while shooting.) Feeling lost, Mousse escapes to a beautiful beach house far from Paris and is soon joined in her refuge by Louis gay brother, Paul (French singer Louis-Ronan Choisy in his first screen appearance). The two strangers gradually develop an unusual and deeply
Sep 10, 2010 Limited
Nov 8, 2010
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For a time in her life, a woman's pregnancy is the most important thing about her. That is the subject of Hideaway.
Gradually, Ozon and the actors convince us of the reality of this world and persuade us to watch the film on its own, unforced terms. Nothing much is happening, except life.
Hideaway" is a spellbinding film, and Ozon, who is perhaps best known for the much darker Under the Sand and Swimming Pool ... continues to be an inspiring director of actors.
One of the pleasures of Hideaway (Le Refuge), from François Ozon, an erratic talent of satisfying films like Under the Sand and misfires like 8 Women, is its insistence on ambiguity.
Sometimes a movie makes a point that's been made before, but makes it so beautifully and so quietly that it feels like you're discovering it for the first time.
Surely, Ozon had Rohmer in mind when he co-wrote and directed this lovely film.
Ozon masks his lack of sensitivity to the material with his characteristic cerebral detachment and pretense to subtlety.
The films of François Ozon constantly offer alternative family units and this elusive French drama (originally titled "Le Refuge") offers yet another.
It is undeniable that Ozon has an eye for emotion. His low-fi camerawork and pared-down cinematography keep a beautiful realism surrounding his characters.
So few films are made about pregnancy and childbirth; few discussions are held about it without the phrases 'pro-choice' or 'pro-life' being shouted over the top. The time we spend with the complex Mousse ... allows us to ponder these miracles in full.
An unconvincing ending doesn't derail the otherwise nuanced complexity of François Ozon's latest investigation of female alienation, sexuality and maternity.
An elliptical relationship drama that works largely due to the nuanced acting; the nuanced, sumptuous camera work; and the nuanced, gorgeous people on screen.
See it for the pleasures of watching Carre play a character with no interest in acceptance by anyone - or stay far away.
Yet for all of the nagging gaps (or narrative short cuts), there's a lot to be said for the camera simply lingering on Carré alone, leaving her to carry the film.
shows a bewitching sense of style, denoting an artist transfixed by the darker and more mysterious chambers of the heart
Hideaway bottles up stormy feelings of grief, guilt, and desire so tightly that register only in a few sharp, impetuous bursts. The rest of the time, it's dull and inscrutable -- a film of almost vaporous subtlety.
Pretentious two-hander which aims for behavioral poetry over coherence or true viewer involvement.
More complex than meets the eye, "Hideaway" is an honest film that commands consideration and discussion after you see it. By all means, see it.
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