Cet Amour-La (2003)
as Marguerite Duras
as Yann Andréa
as Woman in a Smock
as Night Nurse
as Hospital Employee
as Buffet Waiter
as The Ambassador's Wife
as Oyster Stall Kid
Critic Reviews for Cet Amour-La
It's a tender, sympathetic film from a gifted writer-director, Algerian-born Josee Dayan, who obviously adores Moreau, Duras and literature.
Like its subject, Cet Amour-La has a knack for making you focus on the beauty beneath the imperfections.
Cet Amour-Là founders on the difficulty that faces all movies about artists -- how to contextualize the work into the life without putting the audience to sleep.
[Moreau] now in her mid-70s, takes charge of her scenes with an iron-fisted authority that refuses to acknowledge the inert movie around her.
Audience Reviews for Cet Amour-La
[center][img]http://img437.imageshack.us/img437/9107/cetamour7si.jpg[/img][/center] (DVD) (First Viewing, 1st Dayan film) Sometimes I honestly wonder why I still watch movies. And I think this film is a good demonstration of why I do—to discover films like this one. The cover art on the DVD looks banal and trite, but the film it contains is magical, haunting—the kind of film that wraps around you like a blanket while you’re not paying attention. I was drawn in by the premise: a look at the tender, tortured relationship between Marguerite Duras, one of greatest writers of the 20th centuries and a great favorite of mine, and Yann Andrea Steiner, a young man with whose support during the last 16 years of her life she wrote many of her most famous novels, including her most important contribution to literature: the lyrical [I]L’Amant.[/I] On its surface, CET AMOUR-LA falls into that category I call “barely a wisp of a film”—a film so delicate, muted and intentionally limited in scope that it seems capable of dissolving into nothingness at any given moment. But hidden beneath this seemingly ephemeral surface a sea of raw emotions brewing, capable of exploding at any moment. The film intentionally avoids these moments—in fact, most of the major events of the story are implied, for to Duras, events aren’t meant to written as if to be re-experienced, they are something to be looked back on in reflection, leading to a deeper awareness of both the senses and the self. And that’s what this film attempts to do—to try and relate a story not by what it is or what it was, but by what it [I]means[/I]. This approach is tremendously risky and almost impossible to translate into visual terms (Duras herself may have been the only one to successfully pull this off in the cinematic medium through her own highly experimental films, namely [URL=http://www.rottentomatoes.com/vine/journal_view.php?journalid=29715&entryid=119979&view=public]INDIA SONG[/URL] and [URL=http://www.rottentomatoes.com/vine/journal_view.php?journalid=29715&entryid=120738&view=public]LA NAVIRE NIGHT[/URL]). As unexceptional as it might seem on the surface, CET AMOUR-LA is an incredibly brave film that dares to tell Duras’s story in a manner in which she would have wanted it to be told. For many viewers, Jeanne Moreau, who plays Duras, will be the main draw of the film. And she’s exceptional. Echoing [URL=http://www.rottentomatoes.com/vine/journal_view.php?journalid=175167&entryid=309915&view=public]the opening line of [i]L'Amant[/i][/URL], with her ravaged face, the ravaged voice, Moreau is a living, breathing embodiment of the ravages of time, and it makes her perfect for this role. Yet still I find it impossible to exactly what exactly it was about CET AMOUR-LA that impressed me so much, and moved me deeper than I had initially expected. It might be a “little wisp of a film,” but sometimes a feather-touch can yield more impact than a direct blow to the head. Or sometimes, as in this situation, a feather-touch [I]is[/I] a blow to the head.
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