The Snows of Kilimanjaro (2011)
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Despite losing his job, Michel lives happily with Marie-Claire. They have been in love for more than thirty years ...Their children and grandchildren delight them... They have plenty of close friends...They are proud of their union and political struggles... Their conscience is as clear as their view of life. This happiness will be shattered along with their French window by two young men, armed and masked, who beat them, tie them up, snatch their wedding rings and flee with their credit cards... The shock will be all the more violent when they discover that this brutal attack was organized by one of the young workers laid off at the same time as Michel, by one of their own people. Michel and Marie-Claire gradually discover that their attacker, Christophe, only did what he did because he had no choice. He lives alone with his two younger brothers and takes very good care of them, keeping a close eye on their education and their health... -- (C) Cannes … More
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Critic Reviews for The Snows of Kilimanjaro
The film succeeds as an ethical enquiry and as populist, politically intelligent drama.
[A] richly textured and hearty yet fable-like view of domestic intimacy and social conflict.
Like the characters themselves, the performances are highly sympathetic but the film remains a social debate in the great 19th-century tradition...
Justice, decency and solidarity sometimes feel like old-fashioned virtues but they lie at the heart of The Snows Of Kilimanjaro.
Deeper than it first appears. And even playing a dullard, Darroussin dazzles.
It's made with a sure and steady hand that never takes shortcuts with its important message.
Robert Guédiguian's affecting blend of social grit and domestic tenderness steers clear of sentimentality - just.
This heart-warming and socially conscious French drama is poignantly beautiful with a standout lead performance from director Robert Guediguian's muse, Ariane Ascaride.
A poignant portrait of marriage and a dramatic chronicle of hardships and justice.
Shot in warm, summery tones, TSOK muses pertinently on justice and forgiveness while painting a moving portrait of an enduring marriage.
Doce e caloroso como seus personagens principais, mas falho como seu jovem bandido.
The original script, inspired by the Victor Hugo poem How Good Are the Poor, hooks the viewer; indifference is impossible.
Translates perfectly well as a portrait of Boomers who pat themselves on the back for past glories and the reality of a resentful younger demographic on their heels.
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