Three Worlds (2013)
Al, a young man from a modest background, is ten days away from marrying the daughter of his boss, along with succeeding him as the head of the car dealership where Al has been working for most of his life. One night, while coming back drunk from his bachelor party, Al commits a hit-and-run when he hits a man by accident and is urged to leave the scene of the crime by his two childhood friends who are with him in the car. The next day, gnawed by guilt, he decides to go to the hospital to inquire anonymously about his victim. What he does not know is that the entire accident was witnessed from a balcony by a young woman, Juliette, who is going through her own emotional upheavals. Juliette not only called 911, but also helped to contact the victim's wife, Véra, a Moldovan illegal immigrant whom she decides to help and keep company at the hospital. But when Juliette recognizes Al as the reckless driver in the hospital corridor, she is unable to denounce him. Gradually they get to know each other better through more frequent meetings and phone calls, and Juliette becomes a mediator between Al and the unsuspecting Véra. However, things get complicated when romantic feelings between Juliette and Al start to arise, and Véra finally finds out about their secret relationship. (c) Film Movement … More
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Critic Reviews for Three Worlds
A laborious moralistic movie to watch for many reasons, that include the tragic subject matter, the unappealing characters and the story's queasy emotional moral compass.
Each thread of the plot is followed to its dangling, ragged conclusion in a movie that may be painful to watch but that maintains a chilly integrity.
Corsini sends her fine cast down a recognizable route, but wisely stands back, allowing them to navigate the twists and turns.
Feels like an overdrawn soap opera about everyone's simultaneous fear of and longing for consequences.
A little too deliberately balanced in its depiction of its three leads, but it largely makes up the difference with its informed grounding in the economic and social terrain of contemporary France.
Worlds don't so much collide as politely bump into each other in [this] glossy, well-meaning but dramatically listless study of class relations in contemporary Paris.
This stiflingly restrained French dirge about morality, guilt and atonement is chilly and constipated, mistaking ponderousness for intensity.
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