Mary Poppins Returns
Mission: Impossible - Fallout
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All Critics (6)
| Top Critics (2)
| Fresh (4)
| Rotten (2)
Falling back repeatedly on in-your-face symbolism - especially with regard to the specter of decline - Mr. Salvadori seems content to idle in neutral.
Thoroughly nonjudgmental in its observations, Pierre Salvadori's In the Courtyard ranks as one of the funnier films about victims of depression and mental illness.
... lovable and quirky characters. [Full review in Spanish]
I enjoyed it, and I probably won't ever think of it again five minutes after I finish this review.
Salvadori explores themes and layers of the genre that are very uncommon. [Full review in Spanish]
A sensitive movie that explores morality and friendship between neurotic and solitary characters. [Full review in Spanish]
In an elegantly crumbling, white middle class neighbourhood of Paris, an ageing but active husband and wife hire a janitor for their apartment block. Antoine is a failed band singer and insomniac, who wants to hide permanently from his old life, just to clean, and to sleep. He lives in dim, tiny rooms on the ground floor, and is the recipient of everybody's quirks and complaints. The wife, Mathilde, finds him reassuring. She too is on a threshold, as she starts to lose her grip on reality, her energies diverting into lost causes and fears. Antoine, with infinite care, sees her through her descent into madness. When they visit her childhood home, many emotional arrows converge. In an extraordinary performance, Deneuve is faultless as Mathilde. Her acting vocabulary seems limitless, constantly agile, as she probes and extends everything in the character. There is no actress, there is only Mathilde, every note showing both her present state and suggesting who she might become. Deneuve weaves the comedy in and out of every moment. The film itself is perfectly made, with a cast of intriguing and very funny characters. It stays entirely in the moment, with no trace of any Paris travelogue or self-promotion. Kervern as the janitor fills the screen with an enveloping warmth, and he is indeed reassuring. The screenplay takes you, by sleight of hand, from hilarity to the utmost gravity. Allegorically, this is a story symbolic of the classes. The constantly decaying bourgeoisie is supported, propped up and repaired by the working class and the third world, who pay the price and are disposable when no longer required, enabling the bourgeois to go on as before, even when they may have good intentions. Perhaps the film could have alluded to its class structure a little more openly. Still, everything is there, in this marvellous piece.
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