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Let the Sunshine In pairs a powerful performance from Juliette Binoche with a layered drama that presents director Claire Denis at her most assured.
All Critics (132) | Top Critics (30) | Fresh (114) | Rotten (18)
It's a story about people who spend more time talking about their lives than inhabiting them.
They're saying this is the closest director Claire Denis has come to a romcom. If this is a romantic comedy, WTF has Katherine Heigl been getting away with all these years?
It's a pleasure to go along with that ride - to watch Binoche's face lighting up like a flower suddenly blooming, to enjoy Denis' golden light and moody, nostalgic score.
If it weren't for Binoche's warmth, the film might easily sink beneath the stereotype of French culture as overly talky and sex obsessed.
[An] elegantly observed romance about a divorced woman searching for "one real love" in a city of lupine losers.
There's a Hollywood version of this tale, but that's not the one co-writer and director Claire Denis presents. "Let the Sunshine In" works because it's real, relatable and true to the heart.
The filmmaker and her character are equally untethered, enquiring women, not so much concerned with securing a definitive answer as engaging with the possibilities raised by their searches.
Binoche is amazingly good in this role and it's no small thing for a contemporary film to celebrate the sexuality of a middle-aged woman. But Juliette's self-absorption becomes somewhat tiresome after a while.
From the interior of Binoche, is where the beautiful light comes from (whitish, like a beautiful autumn day) to which the title refers and which, at the same time, is what actually illuminates this charming film by Denis. [Full Review in Spanish]
Demonstrates that realistic behavior -- self-defeating whims, conversations that go nowhere, distracted small talk, a visit with a psychic that is more banal than dramatic -- is so alien to the moviegoing experience that most viewers cannot recognize it.
Even minor work from a great filmmaker (and this is probably Denis's most minor film since the 1990s) is a treat.
A satirical snapshot of the maxim that finding love is the true route to self-realisation, and how this tyranny enslaves people who fall outside its nuclear ideal.
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