Francis (André Dussollier) is a successful crime writer who moves to Venice to work on his next novel. When he meets model-turned-real-estate-agent Judith (Carole Bouquet), he is instantly infatuated. Francis and Judith eventually marry and move to a remote house on Torcello Island but Francis' newfound happiness hinders his writing. Obsessing over what Judith does while at work, he hires a young ex-convict to investigate. As Judith's sexual past is revealed both men become increasing fixated on the mysterious woman. Set against the beautiful backdrop of Venice, Unforgivable examines the consequences of unresolved past relationships and their far-reaching effects into the future. -- (C) Strand … More
as Anna Maria
as La Comtesse
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Critic Reviews for Unforgivable
Francis's fluster-as evinced by Dussollier and nurtured by Téchiné-makes for a pleasure both subtle and mildly sadistic.
Though the movie lasts a reasonably brief 107 minutes, Téchiné is in no hurry to reveal his characters. We're still learning about them in the last few scenes, and our loyalties and attractions change.
An exquisitely crafted, brilliant, confusing, disordered, maddening, and wonderfully flawed film that tries to show life as it is lived.
Flat and a bit stale, like the characters. Not one of Téchiné's finest.
Unforgivable is a bit too relaxed to function as a thriller. Though admirably unpredictable, its plot is also spread thin among these fickle lovers.
It creates the lived-in sense of being in the world of the characters.
Bouquet and the waterways of Venice are the chief charms of Téchiné's movie, which is otherwise one of his less convincing efforts.
What makes the film involving is that it doesn't depend on the mechanical resolution of the plot, but on the close observation of its effects on these distinctive characters.
[Unforgivable] sets out as an account of unusual lives, finishes as a portrait of a society -- one that lives between the conventional and the openly low.
It's clearly the work of a master storyteller, conveying a rich, novelistic sense of character and a poetic feeling for the passing of time.
The way Techine holds them up to the film's unforgiving light, they sometimes seem less like people than like insects in a jar.
Techine lavishes upon us not just scenery and characters but complications and emotional turmoil in pursuit of subtlety. If this seems perverse, it most certainly is.
The pervasive morbidity of Venice holds the narrative together, and a melancholy that companionship, parenthood, and art can't console.
An elegantly rambling Franco-Italian affair about the ways we do each other wrong while trying to do each other right.
...a roundelay of obstinacy and desire, where lives are lived on their own terms, fiercely.
In "Unforgivable," Téchiné keeps throwing out teasing ideas, but he never makes good on any of them.
Every single player in Unforgivable is worth a movie of his or her own. The fact that they are all in the same movie together is more boon than bust.
Audience Reviews for Unforgivable
In "Unforgivable," Francis(Andre Dussollier), a famed author, is looking for a quiet place in Venice to do some writing, so Judith(Carole Bouquet), a real estate agent and art expert, suggests a nearby island. After thinking about it, he says he will take it if she moves in with him. Despite having doubts about sharing a bed with a man, a year and a half later they are married when his daughter Alice(Melanie Thierry), an actress, and granddaughter Vicky(Zoe Duthion) come to visit. All goes well until Alice disappears. First, Judith checks with Alvise(Andrea Pergolesi), a shady bit of nobility, before employing her friend Anna Maria(Adriana Asti), a semi-retired private detective, to take the case.
If the movie "Unforgivable" has one thing going for it, it is the city of Venice which been filmed many times before, but not quite like this as it smartly explores the dividing line between tourist and resident. Outside of its setting and the very fine acting, the movie has more than its share of flaws, starting with the derivative jealousy storyline involving Judith's past and present, although I do like the line about her turning others on but nobody turning her on which definitely reminds of me of a former friend. And then there are the other tangents in this rambling narrative which at least serve in the telling the intriguing story of this extended family, of which Anna Maria is the most interesting and ironically given the shortest shrift. What would have worked better is a more compact narrative in a controlled structure.
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