You Ain't Seen Nothin' Yet! (2013)
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as Eurydice 1
as Orphée 1
as Eurydice 2
as Orphée 2
as Monsieur Henri
as La mère
as Le petit régisseur
as Le père
as Le garçon de café
as Secrétaire commissai...
as The Mother
as The Father
as Monsieur Henri
as The Young Girl
as The Hotel Waiter
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Critic Reviews for You Ain't Seen Nothin' Yet!
What affects us most is Resnais's ingenious idea. And that affect is magnified by a surprise ending.
Resnais' occasional use of split-screen and other traditional special effects enhances the picture's various dualities, dreamy quality and decided staginess.
Despite some hyperbolic excess, the process of Resnais' production is unexpected and free, and revisits the very nature of cinema, and theater, with a wondrous eye.
There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart.
"You Ain't Seen Nothin' Yet" is a sly, elegant meditation on the relationship between reality and artifice. But it is a thought-experiment driven above all by emotion.
Audience Reviews for You Ain't Seen Nothin' Yet!
The theatricalization of Cinema as intended by Resnais may be absorbing at first as it explores a touching sense of nostalgia from the characters/actors. But this scene play is not compelling enough, though, to deserve two hours, becoming artificial and vapid after a while.
In "You Ain't Seen Nothin' Yet," famed playwright Antoine d'Anthac(Denis Podalydes) has died. His last request is for some of his favorite actors and other creative collaborators to meet at his house. What he would like them to do is judge a new version of his play "Eurydice" performed by a warehouse theatre group who apparently spent most of their budget on a cool looking pendulum.
Even with one seriously wonky framing sequence, director Alain Resnais, with his penultimate film "You Ain't Seen Nothin' Yet," turns two of his favorite obsessions, theatre and surrealism, into a mindblowing experience. Throughout the body of the movie, with a little help from split screen, he seamlessly combines three productions of a play(starring Sabine Azema & Pierre Arditi, Anne Consigny & Lambert Wilson and Vimala Pons & Sylvain Dieuaide respectively) that occasionally inhabit the same space.(Thus proving we have to find out to how to clone Mathieu Amalric.) This is no mere experiment as it allows the viewer to not only see the differences in various adaptations but more specifically in how the actors interpret the work.
I'd be tempted to think the film was all just some pretentious exercise if it wasn't so moving. Resnais (who's 91 by the way) has put together something totally remarkable here, as he combines so many different styles and still manages to make the film thematically consistent.
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