The best and worst thing about the tale is that we never actually see Thomas. We only view events from his first-person and isolated perspective. The effect is both alienating and compelling.
Thomas in Love (2001)
Tomatometer
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Reviews Counted:39
Fresh:27
Rotten:12
Average Rating:6.3/10
Consensus: A quirky but amusing social commentary on human disengagement.
Theatrical Release:Aug 3, 2001 Limited
Synopsis:
Our hero appears to be a man with two first names. Thomas Thomas (voiced by Benoit Verhaert) is an acute agoraphobe, with a pathological fear of open spaces and human contact.
The 33-year-old...
Our hero appears to be a man with two first names. Thomas Thomas (voiced by Benoit Verhaert) is an acute agoraphobe, with a pathological fear of open spaces and human contact.
The 33-year-old Thomas hasn't set foot outside his hermetically sealed apartment in eight years---or allowed anyone else to enter. All groceries and other supplies have to be hand-delivered, deposited in an “air lock” between the outer and inner doors.
Luckily, Thomas lives in a futuristic world in which agoraphobic contemporary social trends like media saturation, cyber-cocooning and Internet shopping have been carried to unforeseen extremes. Plugged into his “visiophone” 24 hours a day, Thomas can interact with all the important people in his life, from a safe and sanitary distance.
Thomas is never visible to the audience; we hear his voice, but his point of view is also ours. We see his interlocutors exactly as he does, as brightly-colored images on the video/theater screen.
These colorful and eccentric figures include the fancifully tattooed insurance agent (Alexandre von Sivers) who manages his business affairs, the bossy psychologist (Frederic Topart) who may or may not be trying to cure his ailment, and a voluptuous computer-generated “virtual girlfriend,“ Clara, whose pixilated charms seem to be wearing a bit thin.
But now, Thomas’ cozy mediated shell is about to be cracked wide open. His insurance rep is pressuring him to take advantage of a government-run prostitution service designed especially for the disabled. And Thomas’ shrink, who thinks he needs to be violently shaken out of his complacency, has signed him up for a chirpy Internet dating service.
Suddenly, it seems, everyone seems to be trying to drag Thomas, kicking and screaming, out of his comfortable cave.
Through the on-line dating service, Thomas makes contact with Mélodie (Magali Pinglaut), an adventurous and high-spirited young woman who is intrigued, rather than repulsed, by his account of his affliction. But she may want a lot more in the way of real intimacy than he is willing to consider.
Meanwhile, Thomas finds himself irresistibly drawn to the sad and elegant Eva (Aylin Yay), one of the government prostitutes, who seems weighed down by a tragic past. What’s more, she is the first person Thomas has ever come across who may be as skittish and as stand-off-ish as he is; a true soul mate.
As the panicky agoraphobe begins considering the possibility of venturing OUTSIDE for the first time in more than a decade, he is also torn between these two attractive women.
Thomas Thomas is facing the most important choices of his life... © 2001 IFC Films
Starring: Benoit Verhaert, Aylin Yay, Migali Pinglault, Micheline Hardy
Starring: Benoit Verhaert, Aylin Yay, Migali Pinglault, Micheline Hardy, Alexandre von Sivers, Frédéric Topart, Serge Lariviere
Director: Pierre Paul Renders
Director: Pierre Paul Renders
Screenwriter: Philippe Blasband
Producer: Diana Elbaum, Karin Schayes
Studio: IFC Films
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Reviews for Thomas in Love
The film is full of ingenious details and effective character sketches (Thomas has a mother who would give Woody Allen the willies) that go a long way toward covering up its conventionalities.
An intriguing work about modern loneliness, mediated relationships, cybersex, and the narcissism of cocooned individuals.
Dark wit and shrewd social observation sustain this cunning, unnerving conceit by director Pierre-Paul Renders and writer Philippe Blasband.
A film in which the camera's point of view never changes can start to feel claustrophobic. But the originality of the concept and the quality of the performances help to compensate.
The fact that we never see [Thomas'] face or his eyes, and yet still get to know him, is a magic trick that the film performs fluidly and gracefully.
Starts gently, with amusing drollness, then gets more serious, even provocative, without sacrificing its light touch.
While talky and gimmicky, this witty Gallic film spins a sci-fi scenario near enough to reality that anyone who frequents the information superhighway can relate.
While that leads to a conclusion that seems straight out of a student film, Renders does effectively create a sense of claustrophobia by plunking his audience down in the middle of Thomas' world.
At 97 minutes, [Renders and Blasband] manage to get about all they possibly can out of this unusual narrative ploy.
For a film that takes place entirely within the confines of the main character's computer screen, the Belgian Thomas in Love is amazingly interesting stuff.
The most striking thing about this subtle, refreshingly original science-fiction flick is that we never see the hero.
Its bold style and cheeky visual flourishes make this idiosyncratic look at near-future lonely-hearts worth plugging into.
The last few minutes of this movie are strangely moving. What leads up to them is shot through with dark humor and scathing satire.
Director Pierre-Paul Renders has made an interesting comment on the laughable lives we could all be living should the wired world's growth make human contact obsolete.
| Tomatometer Percentage | Movie |
|---|---|
| 15% 15% | The Ugly Truth |
| 98% 98% | Up |
| 36% 36% | G.I. Joe: The Rise of … |
| 52% 52% | The Taking of Pelham 1… |
| 45% 45% | Ice Age: Dawn of the D… |
| Tomatometer Percentage | Movie |
|---|---|
| 36% 36% | Angels & Demons |
| 68% 68% | Funny People |
| 25% 25% | Four Christmases |
| 45% 45% | Shorts |
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