A reflective look at our own mortality through the experience of a middle-aged French man, Time To Leave manages to pull at our heart strings without resorting to cliches, and leaves a lasting impression.
A reflective look at our own mortality through the experience of a middle-aged French man, Time To Leave manages to pull at our heart strings without resorting to cliches, and leaves a lasting impression.
Diagnosed with terminal cancer and given only a short while to live, a successful fashion photographer embarks on one final journey in the second of three films in a trilogy about death and mourning from French director François Ozon (the first entry in the the trilogy was Under the Sand) . After passing out during a particularly grueling photo shoot, high profile shutterbug Romain (Melvil Poupaud) is shocked to discover that his body has been ravaged by a fully metastasized cancer that will
soon kill him. Without revealing the cause for his erratic behavior, the shell shocked Romain commences to alienate his entire family and ditch his handsome young boyfriend before connecting with affable waitress Jany (Valeria Bruni-Tedeschi) at a roadside café while en route to his grandmother's house. Upon arriving at the home of the one family member he knows will be joining him shortly in death, Romain's naked vulnerability is met with a gentle ear and sound advice. Once again meeting with the kindly Jany on his way to his ultimate fate, Romain and the waitress strike up an unusual bargain. ~ Jason Buchanan, Rovi
It's noteworthy for the performances of Melvil Poupard as Romaine and Jeanne Moreau as the grandmother-two people facing their own mortality, and trying to exit this world with grace and dignity.
the 18 minutes of deleted scenes are of unusually high quality, even if their inclusion in the film may, as Ozon suggests, have detracted from its subtlety.
takes one of the most tired movie cliches of all time -- "I'm sorry, but you only have a few months to live." -- and turns into to a totally fresh look at what it truly means to live
Director Francois Ozon, who can define physical desire in a swift gesture or extend a moment of self-reflection with acute stillness, has become more confident and specific with each film.
Those looking for the traditional Hollywood sweetness or payoffs will walk away disappointed, but the rough-hewn film offers riches to those willing to endure its downbeat tale of detachment.
The story arc from his diagnosis to his death doesn't cover much ground in Romain's life. But his emotional landscape -- the conflicts, the anger, the sadness, the acceptance -- offers much more depth.
Modern audiences are more likely to find the character's behavior to be extremely frustrating, undercutting any sympathetic response one might have for his situation.
The entire film is a balancing trick, with scenes of potential banality redeemed at the last by a subtle twist or subversion. In their conflicted expressions, the performers prove themselves experts at their own high-wire acts.
A very moving French film. There wasn't any hollywood type spin to make it extra dramatic, or extra sad...and because of that, the sincerity of the interactions were much more powerful, in my opinion. Quiet, slow, yet not boring. Touching...
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