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Critics Consensus: Ismael's Ghosts unites an excellent cast -- and their valiant efforts are often enough to counter its somewhat confused and disjointed story.
Critic Consensus: Ismael's Ghosts unites an excellent cast -- and their valiant efforts are often enough to counter its somewhat confused and disjointed story.
All Critics (70) | Top Critics (19) | Fresh (37) | Rotten (33)
It's all very artfully done, with plenty of inventive camera work by Irina Lubtchansky. But I found it unsatisfying, even as a slice of life; it seemed more of a julienne.
There are moments in this movie that are richer than anything you can possibly see in a movie theater this month, scenes that will fill you with awe.
It's true that, even on a more complete viewing, not everything in "Ismael's Ghosts" coheres. If it did, I suspect the movie would not feel quite so alive.
As Ismael, Almaric grounds the unwieldy film...delivering an incisive performance that imbues his subtlest gestures with searing turmoil.
Desplechin mines his earlier films and his cultural obsessions for a formidable trove of narrative complications, which he flings into the script with admirable abandon but without directorial audacity to match.
There's one scene -- in which Cotillard dances alone to Bob Dylan's "It Ain't Me Babe" while Gainsbourg looks on quietly -- that might have you begging for the earth to open up and swallow you whole.
Both he (Ismael) and the film deteriorate in front of our eyes in spectacular fashion, the hand that holds the threads begins to feel less steady as the filmmaker loses his grip on what is reality and what is fiction.
[Director Arnaud] Desplechin seeks - and finds - for each precise action and each concrete scene its own cinematographic response. [Full review in Spanish]
Cotillard and Gainsbourg sustain the film. [Full review in Spanish]
Despite being an enjoyable ride-- with fine acting all around-- the story is too overstuffed to cohere, and its shifting time line gets tiresome.
Desplechin imprints an athletic agility to such a potentially dense proposal, offering a masterful lesson in control. [Full Review in Spanish]
Arnaud Desplechin's Ismael's Ghosts considers memory as a cancer, the kind that metastasizes and consumes its host, petrifying them into nothingness.
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